miden Posted February 22, 2021 Share Posted February 22, 2021 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! Quote There is no luck - luck is simply the confluence of circumstance and co-incidence... Time is the final arbiter for all things Link to comment Share on other sites More sharing options...
MathOfInsects Posted February 22, 2021 Share Posted February 22, 2021 Try G/B...? Quote Now out! "Mind the Gap," a 24-song album of new material. www.joshweinstein.com Link to comment Share on other sites More sharing options...
KuruPrionz Posted February 22, 2021 Share Posted February 22, 2021 What is the melody running over the top? That's your leading voice for transition. Quote It took a chunk of my life to get here and I am still not sure where "here" is. Link to comment Share on other sites More sharing options...
Mike Kent Posted February 22, 2021 Share Posted February 22, 2021 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. Quote 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 Link to comment Share on other sites More sharing options...
Baldwin Funster Posted February 22, 2021 Share Posted February 22, 2021 Probably too simple but how about a quick Fmaj9 stab at the start of the head. Quote FunMachine. Link to comment Share on other sites More sharing options...
BbAltered Posted February 22, 2021 Share Posted February 22, 2021 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. Quote J.S. Bach Well Tempered Klavier The collected works of Scott Joplin Ray Charles Genius plus Soul Charlie Parker Omnibook Stevie Wonder Songs in the Key of Life Weather Report Mr. Gone Link to comment Share on other sites More sharing options...
Tusker Posted February 22, 2021 Share Posted February 22, 2021 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.... Quote Link to comment Share on other sites More sharing options...
ProfD Posted February 22, 2021 Share Posted February 22, 2021 As a chord sequence (no melody), I would play G#min7/E, Gmaj7b5/A (passing chord) to Emaj9. Quote PD "The greatest thing you'll ever learn, is just to love and be loved in return."--E. Ahbez "Nature Boy" Link to comment Share on other sites More sharing options...
Mike Kent Posted February 22, 2021 Share Posted February 22, 2021 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# Quote 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 Link to comment Share on other sites More sharing options...
miden Posted February 22, 2021 Author Share Posted February 22, 2021 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! Quote There is no luck - luck is simply the confluence of circumstance and co-incidence... Time is the final arbiter for all things Link to comment Share on other sites More sharing options...
miden Posted February 23, 2021 Author Share Posted February 23, 2021 Thanks to Synmike I used one of his - G#min7/E - F#m7 - Amaj7/B - Emaj9 Quote There is no luck - luck is simply the confluence of circumstance and co-incidence... Time is the final arbiter for all things Link to comment Share on other sites More sharing options...
bfields Posted February 23, 2021 Share Posted February 23, 2021 That seems like kind of an obscure way to write 1-2-5sus-1, but OK. Quote Link to comment Share on other sites More sharing options...
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