# Writing transitions



## Hyacinth (Mar 3, 2013)

So I have trouble writing transitions between song parts. Can anyone share any tips and tricks for writing good transitions?


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## Mr. Big Noodles (Mar 3, 2013)

Try to get a feel for what the music wants. I've written transitions that take an entire minute to flesh out, and I've written transitions that are only one measure. It depends on what you've written, where you're coming from, and where you're going to. You might find that a long unfolding suits the music, or a very direct statement works better. At any rate, the listener should get the feeling that something is changing.


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## Solodini (Mar 3, 2013)

Pretty much as above. See where you're going from or to and pay attention to variation in harmony & rhythm. Inside the section you might try to link two chords with another, so do the same to link the end of one section and the beginning of the next. Take just the last bar of the verse and the first of the chorus, if those are what you're linking and play that on loop. How does it sound? If it doesn't flow, determine which notes or rhythms are contradicting each other and just move them around until you find something more fluid. The riff might not continue the way that it is during the transition but there's nothing wrong with that. Variation on a theme can be pretty good. If it fixes the disparity and sounds good then what's the problem?

Rhythmically, allude to one section within the other to retain some familiarity. Reference different sections within other instruments, as well. You could use the rhythm of the guitar riff of the chorus as the basis of a drum fill at the end of the verse to link the two, for instance.


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## troyguitar (Mar 4, 2013)

I thought most metal bands just switch from one riff to the next with no transition material most of the time.


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## Hyacinth (Mar 4, 2013)

troyguitar said:


> I thought most metal bands just switch from one riff to the next with no transition material most of the time.



Sometimes the "smash-cut to a new riff" is cool. That's the part I don't have problems with, but when then song calls for some sort of transition I struggle a little bit. After reading the answers in this thread and really focusing on that aspect of my writing every day, I'm finding it easier and easier to write transitions. I guess it's just part of my writing that I never focused on, but now that I have a solid grasp of riffs and lead lines, my attention turned to transitions and I realized I wasn't very good at that yet haha


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## satchmo72 (Mar 14, 2013)

MatthewLeisher said:


> Sometimes the "smash-cut to a new riff" is cool. That's the part I don't have problems with, but when then song calls for some sort of transition I struggle a little bit. After reading the answers in this thread and really focusing on that aspect of my writing every day, I'm finding it easier and easier to write transitions. I guess it's just part of my writing that I never focused on, but now that I have a solid grasp of riffs and lead lines, my attention turned to transitions and I realized I wasn't very good at that yet haha



I am right there with you, writing sections, lead lines and progressions is much easier for me, connecting them together is not. It stops songs dead in their path. Sometimes though those scattered sections become songs of their own later on.


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## meambobbo (Mar 14, 2013)

just thinking off the top of my head here's some ideas:

- have the first section fade out on a sustained note or have a long delay or reverb on it. while that's fading out, start playing the next part for one instrument. then kick in with everything when the riff or progression repeats. to draw even more contrast you can start it in one key, but when the whole band comes in, switch to the new key. This works nicely because you can switch from the key at the end of the first section to the key in the bridge, then to the new section's key - sometimes this is a more natural transition than going straight from one to the other.

- when shifting keys, the further away you go on the circle of fifths, the more disjointed the sections will be, as the less notes the two scales will have in common. This is useful to judge how much contrast you want between sections. You can bridge the gap with a transition. For instance, if you want to go from C major (0 sharps) to E major (5 sharps), why not make a transition in D major (2 sharps), whose root is also only a whole note between the roots of the other scales?

- transitions can often work well by creating a harmonic limbo. So rather than firmly land the transition in one specific key, maybe you're just repeating a riff transposing it down a 2nd or 3rd each time. Or have background chords that descend chromatically with a lead line that is tonally ambiguous but fits over the chords.

- transitions will fail you if you use them as a crutch to flow to a different idea from a section that doesn't resolve. If you have a riff that tends to want to recycle and keep going, you can't just say, "but this time we go into a transition!" and now that tension magically disappears. You need an alternate ending to the section. Lots of bands do this. Find the cadence the music wants and hit and give it enough space to sink in before trying to move on.

- don't make transitions too good. they're not meant to last. don't put a killer riff or melody in there.

- don't make transitions boring and lengthy. if it takes too long to flesh out, you may need a different idea entirely.

- If a transition actually makes sense being lengthy and creates the right contrast between the other 2 sections, then maybe you're not looking for a transition but an entirely new section. Then flesh it out and make it more self-standing.

- It may make sense to take a lead line or melody from one section and extend it into a transition, but don't let it feel like you're wandering. Have it make a point that counters the point you were making in the prior section and have it do so as quickly as possible without being awkward. You don't need an 8 bar transition when you can do it in 2, especially if it is directly branched off the previous section - it will get confusing on where exactly the music is going.


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## Solodini (Mar 14, 2013)

Couple of corrections/disagreements: E major has 4 sharps not 5 and I disagree with the "don't make your transition too good" advice. Learn to write good material consistently and try to make every section as good as you can. Surely sounding better can only be a good thing. If you want to make that transition melody or riff useful elsewhere, see if you can use it as both bits. If not, try adapting it. No harm in using it in a few places. See Pantera.


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## meambobbo (Mar 14, 2013)

yup, i was a little off base on E major, although the point still stands, hehe. i need to go home.

and i guess my point about the transition being too good is that you don't want people to feel like, "wow that part was really awesome...too bad they played it once and it lasted 10 seconds". of course, if the rest of your writing is just as impressive, they won't feel like that.


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## Solodini (Mar 14, 2013)

Or leave them wanting more.


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## JoeChugs (Mar 15, 2013)

Fantastic question, I have this problem often too. Sometimes I move up a scale with quick palm mutes and sliding until I get to the root of a chord I want to use in the next section. Or I throw in a power chord who's root is out of key, creating a jarring moment that calls attention to the fact that things in the song are changing.


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