Composing Transitions

Since I started composing I have found that one of the things most consistently difficult to execute is a transition from one section to another.

I can compose a reasonably pleasing section of music, say 20-40 seconds, usually by employing a repeating chord progression or melody, without great difficulty. However, what I often have trouble with is connecting one section with another. I find that often the transition seems unpleasantly jarring and arbitrary, or the two sections don't add up to a sum that is greater than it's parts, or both.

Does anyone else experience this difficulty or know of a good way to overcome it?

I've found that I have occasional problems with this as well.

To me, it depends on just how different the two sections are, and the format/style of the piece you're working with. For a solo instrument, perhaps have a buildup to the new section, especially if it changes key.

For an orchestra, or quartet, or something like that, that's where I have particular trouble. You can introduce the new section slowly, underneath various other voices, or you could employ a lasting chord followed by a rest, and then bring everything in at the same time.

Anyway, it's really down to experimentation. Like I said, I don't really know what I'm talking about, so just follow your ear.

~Christian

not so much "help" here, but some have said that "composing is in the transitions." I think it is great that you are finding your weaknesses, any my advice for making them better or smoother is to make many. Like, an exercise, just write 10 random irrelated themes, and link them together.

However, if you are looking to work out smoother, then try taking the end of the theme, making it a motive, slightly variating it, and starting in a new key with a small modulation.

stuff like that. you will do fine.

Continuation pt. 1

Thanks for the advice guys. Iv been pondering what you've suggested along with the words from that composing guide and I think I have an idea of what some of my problems are.

My compositions, which are not often classical, typically consist of short repeating "hooks" or "riffs". Those hooks sound cool, but without some sort of change or progression they get boring soon enough and then I have to introduce something else, which tends not to be accommodated by the preceding phrase. Making matters worse I typically want each part to be equally unique and self sustaining, which apparently doesn't typically make good music.

Usually what I end up doing is making the phrase intensify at the last bar or two, or end in a sudden crescendo, or transition directly into the next section with preparation. It seems what I must do instead is to plan for my phrases to transition into something ahead of time, plan the general feel of what that sometihng will be, and then write the first part in such a way that the feel/motif of the second part may be extrapolated from the end of the first part.

I think If I combine the advice on practicing with diligent student of that guide on transitioning, which btw is loaded with relevant and interesting stuff, I will really be able to work out the kinks in my approach.

thanks for the help

Oh, if you're doing riff-based stuff, try slight variation over the riff.

Check out the music at http://tchoupchup.com/music.aspx ; we don't always get the transitions down, but it's really in the supporting instruments rather than the riffing instrument - and support doesn't always mean "rhythm section." It's important to have cross-patterns across all voices, and those cross-patterns will provide logical pivot points and progression.

One thing that helps me with cohesive music is writing long lines, rather than small blocks of music, which tends to sound choppy. Try coming up with a melody over your riff or whatever, and then extend the melody wherever it wants to go; fill in the space around it later. Eventually, a good place for your next section will present itself. When you're working towards a specific second section, you may want to consider how you want to get yourself into it, and work from both ends at once--say you know you want to go into section 2 from the leading tone, that gives you an idea of where your transition-y melody is going.

Oh, if you're doing riff-based stuff, try slight variation over the riff.

I listened to a few of your songs, there are some real original ones in there that I just couldn't analyze--which is cool, and I think I hear what you what mean. For example, in never forget the electric guitar plays a repeating riff pattern that adds a note every second repetition and then in the second section it does the same except in the "A" repetition it ends with upwards motion and in the "b" repetition it ends with downwards motion. And all the while the other instruments are sort of "improvising" to give the song its direction, or whatever it is that keeps it interesting and progressive.

It's important to have cross-patterns across all voices,

I'm not quite sure what you mean by that, but I'm intrigued. Does you mean that a melody will start out in one voice and then another voice will come in and finish it off?

it's really in the supporting instruments rather than the riffing instrument

Do you mean like the drums? for example you could have a 16 bar section and then at the last bar the percussion lays down, I don't know what to call it, an elaboration I guess that leads into the next section?

One thing that helps me with cohesive music is writing long lines, rather than small blocks of music, which tends to sound choppy.

Good point. I have tried this once or twice but writing longer lines is harder and I tend to forget what I just played. Also it makes it a bit harder to write a really catchy melody. Still though, I think I'm gonna have to try that again soon.

Try coming up with a melody over your riff or whatever, and then extend the melody wherever it wants to go; fill in the space around it later. Eventually, a good place for your next section will present itself.

The only problem is that frequently the lead melody is the thing that is repeating. Often what I write is just a lead melody and a bass. Sometimes there is a rhythm section as well that sort of follows the melody, so If I have a melody that repeats every two bars then the rhythm does also, but I guess what you guys are both saying is that there shouldn't be so much parallelism between the parts, and I can see how your right.

Eventually, a good place for your next section will present itself. When you're working towards a specific second section, you may want to consider how you want to get yourself into it, and work from both ends at once

I have tried this method before as well and some times it works, but the problem that I often have is that it takes too long to get from point A to B. I guess I just get allot of vague ideas and want to implement them all, without really considering how infeasible it is to have all those things connect in one piece.

Thanks for the schoolage both of you. I cant believe how much I have to chew on already.

You got it on the "supporting" instruments. But it's not just the drums. Any time you have one line doing the melody, the other lines have just as much importance to the piece, especially with riffy stuff. Think Sabbath on say, Fairies Wear Boots.

The cross-patterns are the polyrhythms that show up between the instruments.

Thanks for the compliments :) Wish we were still playing :\

a gigantic pause is sometimes a good transition. :mellow: