May 23, 20196 yr So I was in this stormy C minor and I am wanting to get back to F major, the key of my piece as a whole. My key signature changes have been pretty regular so I decided on my first modulation back from C minor to be G minor, a circle of fifths modulation. Likewise I changed the key signature to 2 flats. But now, I don't know where to go next. Here are the pathways I see that don't involve very many keys or key signature changes(with the regularity, I only really have 2 key signature changes left if I want to keep the change in key signature regular and one of them has to be to 1 flat which limits my options(so like I couldn't involve D major to any extent really)): The Circle of Fifths Pathway This way I continue up the circle of fifths like this: G minor -> D minor -> C major(subtonic of D minor, dominant of F major) -> F major And here it is in Roman numerals both for G minor and F major: G min: i -> v -> IV -> VII F Maj: ii -> vi -> V -> I The Altered Subdominant Pathway This way I go from the minor subdominant to the major subdominant which then leads to a cadence in F major so like this: G minor -> C minor -> C major -> F major And here it is in Roman numerals: G min: i -> iv -> IV -> VII F Maj: ii -> v -> V -> I The Mediant Pathways Here I would be using the mediant of G minor, Bb major to lead to F major. Now here, I have 2 pathways. I could use a plagal motion and skip the dominant. Or I could use the subdominant of F to lead to the dominant, which then leads to F. Plagal pathway G minor -> Bb major -> F major G min: i -> III -> VII F Maj: ii -> IV -> I Authentic Cadence Pathway G minor -> Bb major -> C major -> F major G min: i -> III -> IV -> VII F Maj: ii -> IV -> V -> I
May 31, 20196 yr I would use the second one, using the III on C minor and directly make it stepwise C major, the rest to F major is done.
June 1, 20196 yr Any of these choices is fine. It sort of depends on what the rest of the work is like. If it's mostly diatonic, I'd stick with one of the options you presented. But if you've used some chromaticism (or it's the end of a development), I'd personally be inclined to use something more chromatic, like a diminished seventh transition. A relatively direct pathway is available through the dim7 of V for G minor, which can be reinterpreted as dim7 for F major. Another possibility is a chain of tense chords ending with an aug6 on flat 2 or 4. An example in your case would be vii7/g-g-vii7/A-A-Ger6 (on Bb)-F major. This produces a powerful ascending chromatic bass line to the Bb, and the resolution is very satisfying, especially if your last two melody notes were G# ascending to A. Good luck!
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