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In jazz, the most apparent solution would be to modulate via II-V-I: A#m7(Bbm7) Cm7 |C#m7b5 F#7 |Bm7 |


When modulating by a half step, one trick is to exploit the enharmonic equivalence between the German augmented-sixth chord and the dominant-seventh chord. In A♯ minor, the German augmented-sixth chord is F♯ A♯ C♯ D𝄪; since this chord sounds the same as the V7 in B (F♯ A♯ C♯ E), you can easily resolve to B minor and strengthen the modulation from there. ...


Modulation and key change generally speaking uses the V chord of the new key. So you'd have a bar or two of F♯ or F♯7 leading into the new key of Bm. You could also lead into that F♯ with an A♯diminished chord, using it as a pivot note. That gets the job done in one or two bars.


One thing I would like to add to the (excellent and quite complete) answers above. There is a fundamental difference between arranging a pop song, and writing classical music (which generally lasts a lot longer) in terms of what you are trying to achieve. For most pop music, you are trying to get to the listener by a sequence of events: Hopefully the ...

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