A Fairytale Wedding

Hey ! I really liked what you posted. You took it down, but I had a listen and thought it worked well. I liked the D#,E# to E bass motion you used, before hitting the Bmaj to F# Maj. It worked well.

I don't mean to be a semantic asshole (just am) but the example Luke posted was not "really" a modulation, but more of a modal interchange. This is because
there was only one chord out of the key. Unless..... I am thinking of a different spot and then I could be totally wrong.

In a very general type example and trying to be helpful, I noticed your comment

"Your modulation from Dmaj to F#maj is certainly a tricky move."

It's not at all. You just have to break it down. I made a few quick examples. The thing about composing is aside from the craft of how you connect A to B is how you make it feel inevitable. This is more like a master story teller. Another way to say this: You can either "bang" modulate right on the spot, or you can do the more traditional building up (ie. secondary dominates ., 6/4 chords to sus etc.)

I would say two of the most important aspects are

1: Are there any common tones (F# is in both)
2: 1/2 steps create a "leading tone" sense.
3: Look at the liner aspect and keep common tones while moving other voices to nearest chord tone in next measure



Some examples below. Just FYI. Groove on

PS: What the hell is going on with the sheet music ? Don't click on if you have epilepsy. Twilight Zone ??