Sure, first strip the randomness down to a defined set of intervals—like a list of acceptable fifths or major/minor thirds—so the algorithm can pick from that pool. Then add a rule that any new chord must share at least one pitch class with the previous chord; that keeps it from jumping too far. Also cache the last few chords in a sliding window and ban repeats beyond a threshold. Finally, profile the generation loop; if it’s generating a lot of “weird” chords, tighten the filter and you’ll see a smoother output.

Start with the diatonic triads of the key you’re in—I, ii, iii, IV, V, vi, and sometimes vii°—then sprinkle in the secondary dominants like V/V or V/vi for spice. If you want something less predictable, add the relative minors or the mode‑shifted chords from the parallel mode. Keep the palette small at first, test the flow, and then expand when you know the core works. Good luck on the fretboard!

Try a bit of Lydian—swap that IV in C major for a D‑major (the Lydian IV) so you get that #4 flavor, or throw in a Mixolydian V (G7♭9) for a bluesy twist. Also, the Dorian vi (Dm7) can sit nicely after a V, giving you a smooth minor lift before you jump back to the tonic. Just keep the interval changes predictable, and you’ll have a solid palette to play with.

Sounds like a killer combo—keep the transitions clean, and you’ll have a solid, punchy progression. Have fun stringing it all together.