In this post, you all helped me modulate from the original tonality of C major to a new tonality of Bb Major. Now, I am trying to find my way back to the original key.
This is what the chords are without any modulation/transition between the two tonalities:
I understand that the simplest means of firmly establishing a tonality is the cadence.
The strongest cadences are those in which the dominant precedes the tonic triad. The thing is, coming out of the Eb F Bb F progression (in B-flat remember), the B natural is jarring/disruptive. So, in the notes pictured below you'll see that I tried to make the move to V of C more natural by having a D minor chord precede it (I would use a secondary dominant, D7, but I don't want it to sound too contrived/academic/obvious. That is to say I want it to sound effortless.) IV-ii-V-I looks to me to be a very normal progression in C major (subdominant -> dominant -> tonic), so I went with that.
Cadences with the subdominant preceding the tonic are less decisive. I still wanted to try it, though, so you'll see that I just threw the C major immediately after the F major. I feel as though it sounds okay but not particularly satisfying (it sounds like we run into the new (original) tonality by accident).
If I'm not mistaken, the F major chord in both examples serves as the pivot chord, because of its placement and the fact that it is common to both the original tonality (C major) and the new tonality (Bb major)
Please let me know your thoughts on the modulations I've set up here, and please let me know if you have any other suggestions in mind. The setting is pop rock.
The issue of timing is another concern of mine--does the modulation need its own section? Or should I make the bridge long enough to encompass the modulation within the given length? In the actual composition, the section would likely be 16 bars or so.