A little help about finding the right chord

[James_music 222]

Hello to everyone. So I have this problem where I am writing a song and the verse ends on E and I want to transition it to A# which is the beginning of the chorus but I can't find the transition chord so that it sounds good and makes sense, that is, to go from E to A#. Thank you in advance.

[BertKoor]

I guess you tried eg E F A# and E C# A#. Walk along the circle of fifths: E A D G C F A#

Instead of finding chords you can fill the transition with non-chord stuff: only unisono melody.

Do you know the name of the interval E to A# ?

Since this is the theory forum: are you sure it's A# and not Bb?

[Ah_Dziz]

It would be useful to know what key the song is in as that would have some bearing on this. It's generally a good idea to try the fifth of your "target chord" as it could tend to resolve to the "target". I'd try it in many inversions as well as a first step also experiment with using a flat 7th on the chord as well.

[Artie Fichelle]

For people without music theory knowledge, it is easy to find a transition from one chord to the other, by just lifting one finger to the chord you want to go to, then the next finger and then the next.

[BertKoor]

the verse ends on E and I want to transition it to A# which is the beginning of the chorus

An interesting and perhaps easy solution is to do the next chorus in A or B. Bonus points for having a modulation!

[James_music 222]

Hello to you all. I found a transition chord, which was initially F and then I thought about using F/C. I played it and it sounded better to me. After that, to make it sound better, before it goes to A#, I put together another similar chord to A# of which I don't know the name but know it is similar, that translates better than not using it at all. As for the theory and chord stuff you are guys are talking, I don't know about it. Also, A# is the same as Bb.

[BertKoor]

Also, A# is the same as Bb.

The difference between A# and Bb is just too subtle for you to understand.
See eg viewtopic.php?t=608905

[ThoughtExperiment]

... A# is the same as Bb.

You really shouldn't say that in the Music theory forum - but I guess you're about to find out why...(gets popcorn)

[jancivil]

Two points: 1) A# as a key, if you have to tell anyone else 'what key', is unwieldy AF. "A# major" is A# B# Cx D# E# Fx Gx. What's the key signature supposed to be now? We've exceeded 7 sharps to wind up with three double sharps. Who wants to deal with this?
(if no one has to be the wiser, the distinction from our given alternative Bb is an acoustic one, and regardless of what's notated if you tell a Bb saxophonist 'key of A#' s/he should tell you to f**k right off, as you don't know what you're doing.)

2) The note A# is the seventh diatonic step of B major, among other things in 'sharp keys'. It's the fifth of seven sharps in a sig. In those areas "Bb" is probably a mistake.

So it depends what we're talking about. A real key of A# is going to be exceedingly rare-to-nonexistent. There is no acoustical reason for it such as the preference for keys a transposing instrument presents. There aren't sharp key instruments like that. One could conceivably have gone past the edge in their thought, in our 'sharp keys areas' for some reason but I'm pressed to come up with a reason not to go enharmonic if we're looking at multiple double sharps.
However, and note well, improvising in a 12-tone or full chromatic environment this whole issue might not matter (until you transcribe it).

[jancivil]

Also, A# is the same as Bb.

The difference between A# and Bb is ...

It becomes clear the OP wasn't so interested in the whys and wherefores. So at this point it's let's talk among ourselves about the music theory of it all

[eLawnMust]

Yes, Topic Starter is looking for solutions not arguments, That's why I don't ask anything on here anymore as too many egos to bolster...

Don't know the 'mood' of what you want & triads are basic but I would try Fsus (or variant like Fsus2, Fsus7) also a fit is Cminor or Cminor7 also you could experiment with a C# of major or minor & see how it sounds as it's 3 semitones down from E & 3 semitones up from A# more of a modern transition used in fusion & such where chord patterns are equal distance apart... Though not whole tone this is how the whole tone works especially riffs & runs they sound great because of equal distances apart... You might try using compound chords it makes for a better fit most of the time...

[jancivil]

You're welcome.
Oh, "A# minor" is 7 sharps as a key, relative to C# major.

[jancivil]

I think we are at the stage (typical for these things) where we're just talking among ourselves (no feedback from the OP), so I went for a real theory lesson as though for general use.
(Newbies that know strictly from piano roll ie., with this A# aren't ready for a lot IME, so it wasn't time to start in right away.)

V of A# is E#. (It might be less confusing to say Bb: V to I = F to Bb)
That said, G# is the bVII [the natural minor 7] of A# minor (7 sharps) and it might be the magical transition, who knows?

It doesn't really make a whole lot of sense to prescribe a move with no context or knowing the harmonic rhythm or from melody, or hearing anything.
Pivot chords and secondary dominants are modulatory devices, ie., function so as to modulate keys, is terminology more or less from the classical expectation. "E to A#" is a 180º shift. I guess we can assume (but not more than an assumption) that "verse ends on E" more or less says from key of E. So, either way here's a sudden change of focus at a tritone's remove.

There aren't going to be a lot of models for that, as a "smooth move". This is kind of original (albeit naive). It's an interesting problem in the abstract or something to talk about but there is no answer, the question had yet to be fully formulated. Then, we don't know what the OP is hearing or where they're coming from.

[banjobounce]

There are several ways to do this, and it's mainly subjective, imo. Have you looked into something like Barry Harris type of thing using minor 3rds? In this case, G could be your transition chord, assuming you didn't want tontake a longer stroll around the circle.

[Starbright]

Here are a few things you can try:
1. 251 aka Cm F7 Bbmj7
2. Tritonsubstitute B7
3. relative minor Dominant Seven aka D7 (relates to G-minor)

You probably have to treat the changes like a break where you can insert the chords as a riff or a run.