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suggestions please for a transition..


miden

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Trying to go from G#min7/E to Emaj9 they are essentially the same chord and the ear (for me anyway) always seems to want to modulate to Eb which of course does not fit to get back to the Emaj9 for top of the head...just cannot get anything to work this afternoon hahaha!

There is no luck - luck is simply the confluence of circumstance and co-incidence...

 

Time is the final arbiter for all things

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Trying to go from G#min7/E to Emaj9 they are essentially the same chord...

 

Same chord, so there's no transition, it's a continuation of the same chord or move away and return.

Or am I missing something?

But if we consider that a transition, how many chords do you want in your transition?

 

Here are a few ideas among many possible...

 

G#min7/E - E2/G# - C#m7 - Amaj7/B - Emaj9

 

G#min7/E - B/C# - C#m7 - F#m7 - Amaj7/B - Emaj9

 

G#min7/E - F#m7 - Amaj7/B - Emaj9

 

G#min7/E - G#aug - A - Amaj7/B - Emaj9

 

G#min7/E - G#min7/D# - C#m7 - B - Emaj9

 

G#min7/E - Eb7 - G#7 - C#m7 - Amaj7/B - Emaj9

 

G#min7/E - Ebaug - G#7 - C#m7 - Amaj7/B - Emaj9

 

But as KuruPrionz pointed out, if there is a melody line, then it will dictate a smaller set of choices.

Mike Kent

- Chairman of MIDI 2.0 Working Group

- MIDI Association Executive Board

- Co-Author of USB Device Class Definition for MIDI Devices 1.0 and 2.0

 

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In classic theory, one plays V dominant before the tonic. Four hundred years of classical music have trained out ears and minds to expect the I after hearing the V7. So I suggest G#m7 -> B7 (or variant so long as it is rooted in V and dominant in quality) -> Emaj. Try this: G#m7 -> F7/B (tritone sub. over V bass) -> Emaj. Or G#m7 -> G#7/B (Barris Harris sub. for dominant) - > Emaj.

 

Explore a little - have fun.

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It sounds like you are in the tonality of E major. If you want a smooth transition, you could head to variations on an F#minor triad. This would yield diatonically adjacent notes (F#, A, C#). Secondly you could also use diminished or half diminished chords without affecting tonality much. Thirdly if you want a dramatic transition you would use chromatic adjacents (F, A, C, G, etc) ...

 

An example of the first approach:

 

G#min7/E => F#min7/E => Emaj9

 

Three examples of the second approach:

 

G#min7/E => Am6/E => Emaj9

 

G#min7/E => A diminished/E => Emaj9

 

G#min7/E => E diminished (add F#) => Emaj9

 

Three examples of the third (chromatic adjacents) approach:

 

G#min7/E => C/E (add F#) => Emaj9

G#min7/E => E7 flat 5 => Emaj9

G#min7/E => Gm/E => Emaj9

 

As Kuru mentioned the melody should guide you....

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Another option:

 

 

G#min7/E - F#m7(add9) - G#/Badd7 - Emaj9

 

I'm not sure if I named that 3rd chord correctly. Notes from lowest to highest are B - A - B#© - D# - G#

Mike Kent

- Chairman of MIDI 2.0 Working Group

- MIDI Association Executive Board

- Co-Author of USB Device Class Definition for MIDI Devices 1.0 and 2.0

 

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Thanks guys, I hoped you'd come through and you did! Several good suggestions there and I would NOT have thought of haha! Yeah it being the same chord with slightly different tonality made it tough for me...no melody yet that's coming I just need to get this transition for a turn-around going first (you know, you get a "bee in your bonnet" sort of thing!)

 

Cheers

 

PS...I'll post a bit later, once gear is on and let you know....it will be one of the above for sure!

There is no luck - luck is simply the confluence of circumstance and co-incidence...

 

Time is the final arbiter for all things

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