#1
Hey!

Although not satisfied yet with the amount I've played in C major/A minor yet,I felt like it was time to move on to something closely related,and I went with C minor (not so close but kind of). Adding in some serious minor stuff wasn't bad for me haha. It did open up the canvas by alot imo. I thought I'd make it with A minor but come on,it hardly sounds minor to me,only a tad bit mellow if played "correctly". Anyways....

I'm trying to write this piece for a scene I recently watched,which involves a tragic death,preceeded by a very brief reuniting of a group. My idea goes as follows;

-Reunited-Kind of happy,but still an overtone or rather an overhanging feeling that something is going to happen.
-The death-This part has to be in minor,and I've chosen C minor to reflect that.
-The events that follow,haven't decided for this part yet but it'll probably still be in a minor key

Question: How would one modulate from E minor to C minor without it being to abrupt and alarming,it is a death after all,I know. But it still crashes too much going from the G or G7 chord in E minor to the C minor chord. I tried G and G7 into Ab major or to Bb major or any combination of these ending on the C minor but doing so makes it sound so spanish which I don't like lol (G to Ab to Bb or G to Bb to G to Ab to Fmin or w/e).

Maybe I should just change my C minor into a more closely related key to E minor?

EDIT:Maybe some piano action during the change to help carry over to C minor? I don't know.
Last edited by Oddly_Phrygian at Nov 22, 2015,
#2
Find a pivot chord, or borrow one from a parallel or relative key if you can't find a pivot. Then try to sit between the keys so the harmony can lean either way ambiguously. When you've stayed there long enough, followed up with a secondary dominant or a V7, or back cycle dominants or whatever you want until you resolve into the key you're after. But seriously, thinking so specifically in harmonic terms is sure to get you in a rut. Try thinking more broadly while keeping in mind your concept, it'll free up your choices.
Last edited by GoldenGuitar at Nov 22, 2015,
#4
Em diatonics:

Em F#dim G Am B (for harmonic) C D

Cm diatonics:
Cm Ddim Eb Fm G Ab Bb

Common chord G.

Check this song out for ideas
https://youtu.be/vz0FSG9h-GI
~0:33 - D-E-G to transition from a section in Dm to Cm. Common /tone/ G
2:14-2:45 - section in Cm, chords Cm|Eb|Bb|Fm | Cm|Eb|Bb|F
Note the borrowed chord F. It transitions to Gm smoothly; bVII to i is a common idiom nowadays (Nightwish does the bVII to i all the time: check "Nemo", "Amaranth", "Our Decades in the Sun", etc. for examples)

Gm section:
Gm|F|Dm|Ebmaj7|Gm|Dm7|Am|Bb|F|C7|Am|Bb|

Again borrowed chords from the major. But this has the effect of making Dm and F stronger harmonically, which is what Nick Cave and Warren Ellis wanted (the next section is in Dm. Am is not normally seen in Dm, but it is technically diatonic). Contrast with a version with Adim replacing the first Am chord. It would strengthen the Bb instead of the Dm. (leading tone diminished functions like a dominant; it's like a V7 without the root.)
Glad to cross paths with you on this adventure called life
Quote by Jet Penguin
lots of flirting with the other key without confirming. JUST LIKE THEIR LOVE IN THE MOVIE OH DAMN.
Quote by Hail
you're acting like you have perfect pitch or something
#5
I think doing Em - Cm (Im - VIm) sounds pretty eerie and dark, and it fits well since it's a death scene.
#6
Quote by emicyber
I think doing Em - Cm (Im - VIm) sounds pretty eerie and dark, and it fits well since it's a death scene.


It fit rather well actually. I might go with something like that. Borrowing chords from a parallel or relative key went straight over my head because;
A) I read through the 2 posts above too fast
and
B)I thought too specifically as Golden pointed out.

Sometimes I can be so stubborn AND narrow minded. I really need to open up for the horizon lol

Thanks!