Theyre probably there already as free downloads online from a variety of sources.

I think it's a case of learning substitution theory and using the BIAB chord substitution wizard to come up with variants of your own. The unusual one your referring to presumably was the one in the previous thread you mentioned..

BbMaj 7, G7#5#9/ Cm7, F7#5#9 / Dm7 ,G7#5#9/ Cm7, f7#5##9/ Bb9, Bb9/Eb9, Edim/Bb6slashf /Cm7 F7#5#9

...This one is not so difficult to understand as long as

a) You have certain principles of chord substitution in mind. The most important in this case is that every scale chord has its own V chord that can played before it. So G7#5#9 isn't just an arbitary choice. Its the V of the II chord Cm7. The build up of tensions seem arbitary but they're not. The #5 and #9 are there because these two tones are the b3rd and b7th of the the next chord. producing smooth voice leading in the chord changes.

b) If you remember that variations in chord progressions on a given tune are fundamentally about producing a type of bass line/chord root movement in counterpoint to the melody/counter melody and the above mentioned voice leading in the chord tones.

c) You understand that the resulting exotic V chord variants chords dont suggest changes in key.. they're transient dissonances resolving quickly to the diatonic chord..much as stepwise melodic chromaticism resolves up or down to the scale or chord tone. Also taken as a whole the G7#5#9 gives more tension at the appropriate point and supports more note choices for the soloist.

I hope this helps clear up the apparent difficulty with all these variations.


Alan

Last edited by alan S.; 11/17/10 10:20 AM.