Or use an A#dim7 which works as a "hybrid dominant" (a word I just made up), it's kind of both A7 and F#7 at the same time, but it's not exactly neither of them. If you allow yourself to even change the key, it's huge fun! As an example of changing one of the given chords, in your D - A - Bm - G example, substitute the A with F#7 or a derivative. If you're allowed to change the target chords, it becomes even more interesting and opens a lot of possibilities and degrees of freedom. But on the other hand (no pun intended), you can see guitar as having harmony vs rhythm as the left/right hand division, which is equally useful. This is of course very simplistic, and not very helpful for guitarists. it becomes: (1) left hand guiding, or (2) right hand guiding. We can "dumb down" the guiding principles slightly, if we assume that you play piano or keyboards, and the voice you lead is the bass, which you play with your left hand, and if the whole-chords aspect is what you play mainly with your right hand. If someone can show an actually used chord progression "glue" sequence that cannot be shown to be a combination of the two above, I'm interested in hearing it. These steps you do thinking about whole chords, although you might glue the chords together using step-by-step voice leading. Instead of individual notes, look at whole chords, take a few steps back along the circle of fifths/fourths from the target chord and click-click-click move there, optionally hiding the blatant simplicity of this with chord substitution tricks like tritone substitutions, minor 9th, 7th dim, etc.
Of course, all other voices may take steps too, but it's the one voice you select as your protagonist you follow.
The bass is the easiest choice for the moving voice you trace. Keep the melody note as the highest voice, move some other voice somewhere a step or two or three to some direction, and choose a chord such that it includes the target note and makes sense for the overall harmony (and the melody note). Trick 1: voice leading as guide for the step.If you want to go through all of the given original chords and aren't allowed to change them (though why wouldn't you if you're messing with the chords to begin with), there are only two guiding principles to choose from at each step. You do it step by step, first inserting "midway" chords somewhere in between, and then if you want, even more intermediate chords between those.
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