Check out the circle of fifths. G minor and B major are far apart, you need to find one or more key chords to get from one to the other. For example you may be able to go from G minor to F minor, to E-flat minor and then B major.
You do not have to go through all that. Use a chromatic modulation. Have first, a chord in G minor that contains an A natural (like the iio chord [aka A diminished chord]. Then have a chord in B major that contains a A# (like the V chord [aka F# major chord] and then have the new tonic B major chord. So the voice leading is A-A#-B.
With chromatic modulation how about this chord progression G minor (G Bb D), altered chord (Gb Bb Eb), B major (D# F# B). I thought chromatic modulation is having a common note or notes while shifting others?
No, there must be three notes in a row (2 or all 3 in one voice) all half steps. The first must be a pitch in the old key and the final two a natural occurring half step in the new key.
Ok, I get that part. But how is your example above chromatic modulation when the chords weren't specified to have a common note (ie. one chord with A natural, and one chord with A#)
Ancore: Your change of key is quite special since they both have two flats and the second key is major. So I believe your move to a F major chord that goes to B-flat is OK. The only way to make it more convincing would be to have either/or both (1) the chord or two before the F chord have the F# leading tone in it, so the F natural sounds less like G minor key when you get to B-flat major key (2) if you have more than two voices include the 7th in the F chord. Dominant 7ths make a stronger pull to tonic.
BTW: this whole discussion should be in the TalkClassical Music Theory section, not the composer section...but that's water over the dam.
Ancore: Your change of key is quite special since they both have two flats and the second key is major. So I believe your move to a F major chord that goes to B-flat is OK. The only way to make it more convincing would be to have either/or both (1) the chord or two before the F chord have the F# leading tone in it, so the F natural sounds less like G minor key when you get to it (2) if you have more than two voices include the 7th in the F chord. Dominant 7ths make a stronger pull to tonic.
BTW: this whole discussion should be in the TalkClassical Music Theory section, not the composer section...but that's water over the dam.
The naturalized G , second measure , seems a funny fart inanely suggesting G-flat is the norm . Anyway , Gm-Bb-Gm-Bb-Gm ... forever unto the end and without transitions would not be insensible .
Some ideas for transitions I use sometimes. I consider G minor to be my "home" key, so I write with it a lot.
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