I love this post, because you’re getting into the types of chord progressions I like. I wouldn’t call it atonal though. If it were totally atonal you probably wouldn’t have such consonant chords vertically. I think what you’re talking about are very abrupt modulations to new triads for the most part.

Here’s my solution, which I use myself (which has nothing to do with theory) : I always begin with “What is the PURPOSE of the piece of music?” I’ve written so much that I now start with the core goal, otherwise, yes, you can do anything in the next moment.

The “Purpose” gives me basic parameters. I get hired to write music that is used for things. So if I’m writing a rock backing track that someone will be talking over, or a spooky horror track for a ghost-hunting video on YouTube, or a podcast theme about business in China, these all give me the parameters.

If I’m just writing music for myself, for the hell of it, I also have some sort of Purpose. For instance, a few years ago I decided to write a 45-minute piece of sci-if rock music focused on developing my theme and variation skills. I took very simple rhythmic motifs, maybe 5 or 6 of them, and played around with them for 45 minutes, seeing how far I can take them, disguise them. That was the Purpose and I achieved it. Otherwise, I’d be stuck in that “any note or rhythm can come next” problem like you’re describing.

So yeah, it sure helps to set parameters and purpose to constrain your work. That applies to every art form. Writing, drawing, etc.

Thanks for the very interesting topic, which I love!

-Carl.