I try to learn lots of different substitutions to make a song sound more intresting and I'd love to hear other's as well. I have a site I'm working on called Chord Spectrum which lists all chords Piano and Guitar along with explanations of use and substitution for each one :sweat:

Something like a MiMaj7 (Minor Major 7) Chord can be used anytime a major chord is substituted for a minor chord.

Anyone got Ideas for using Maj13, Dominant 13s and Majb5 Chords?

Whatever your imagination and creativity allows you to ;)

Sorry, I'm an atonal composer. I don't work from structured chords and resolutions directly.

It's best to figure out substitutions in the moment rather than having a manual to explain in general when and why it's okay to do a substitution. That's similar to saying that Bmaj in the 3rd octave is similar to Bmaj in the 7th octave; when in fact there is a frequency difference that drives different effects to the listener (similar to why you do not write a bass line the same way you don't write a treble line). A composer and a musician shouldn't think like that actively. There are times when playing all five half steps in a row works for a resolution (such as a B|C|C#|D|D# chord), but I frankly can't say that there's a satisfactory way to substitute that sound with a different resolution. Similarly, the Thirteenth chord doesn't have an effective resolution (it's built in the chord) that one can actually say resolves it.

Effectively, what I'm saying is a substitution in music is simply changing what effects the music was supposed to convey. If that was so desired, the composer would have put in a freestyle solo mark with the "ideal" polychord to play it in.

But this is just my personal opinion about how music is written.