FWIW this should explain my reasoning and vision for putting together chord spelling tables (and I have more to create).

I built a quick BiaB scratchpad file where the band is vamping on C7 so I can examine musically how this chord is constructed. Inspiration from Eddie allowed me to concieve this idea and limiting the "song" to just one chord prevents other chords (and their transitions) from muddying up the water. My bassline is limited to only the notes that make up the C7 chord and to help those interested to understand what I'm playing (and when) , I played the Bb note more busy than the other notes.

My note progression is:
C E G Bb 4x
C G E Bb 4x

Of course, there are many other permutations that could be played, this is just a starting point on this particular element of my journey.

Observation #1: If I hadn't investigated the Dom 7 chords and built my table, I would never have been aware of the Bb in this chord.
Observation #2: I really like the sound of the Bb in this context, it seems to want to resolve back to the C in a musically satisfying way.
Observation #3: In my humble opinion, every music school, music teacher and music student should have BiaB in their toolbox; what a wonderful practice and learning tool.

This is all really good stuff, I'm slowing unpacking and understanding how music works.
Thanks to all that have positively contributed to this and other threads here.

C7 Scratchpad

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BiaB 2025 Windows
For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.