I wonder who is already in the stage when he is not satisfied with his set of trained standard harmonies; like this pianist: https://www.youtube.com/watch?v=MqUxs83j380

There are thousands of possibilities; but apparently it is first necessary to completely reject all criticism, except for the perception of changes of dissonance and density of voicngs , what I call accordion.

I would pray for everyone to not be satisfied with the standard harmony set (imagine guidance telling the player there’s value in starting and ending in the same place; off-hand can’t think of a single other art form aspiring to such linearity).

But I don’t imagine there’s 1,000’s of possibilities for escape (excluding rhythmic and unacceptably dissonant possibilities) and I’m satisfied with just one: the min6 chord. Closed-eyes familiarity with all 48 inversions of these 12 chords and the scales for improv over them, allows for a compositional flow in which conventional chords are played say only 20-25% of the time as filler or for passing and keys come and go often on a quarter-note basis. For any suffering from that feeling of amateur despair the minute hitting the opening chord (because of the perceived difficulty of ever truly escaping that key): try opening with a min6 chord, e.g., B-D-F#-G# and maybe the next chord could be Bb-D-E=G and...time for another key change...?

So yes, while a steady diet of the dissonance-level illustrated in the youtube clip might lead to ill-health, each of those chords is probably a doorway to changing keys smoothly enough as to be almost imperceptible.

This is only a matter of personal approach. The option of minor 6 is beautiful, if it is not repeated for 60 years, as in my case. Once I found him and was happy; today I'm looking for something different ; one day one must leave the stage of a diligent student. A time to cast away stones, and a time to gather stones together.