The first motif is a nice Moderato 100 smooth theme. The second is still moderato but is building up the darkness for the third motif. The third is a Con Brio 130. I want to know the best way to transition from the third back to the first. Am not sure what composition you're referring to. so.....with a few assumptions, consider:
When you describe the 3rd. motif as "dark," I will assume it's written in a minor key, or perhaps it's modal.
With regard to that assumption, I would transition from the 3rd. motif by way of re-establishing what I'm assuming would be a major key. This could be accomplished by a chord, or chords, that would yield a strong resolution to the "target" key.
Regarding tempo........a multi-bar diminuendo back to 100, or a a fermata over the previously mentioned resolution chord should yield a reasonable transition. Thanks =] Report It
Without hearing it I can't say ...
Could be as simple as an abrupt picardy third harmonization at the end of a passage ... then starting a fresh in the parallel major key.
If you are using relative majors and monors, any sort of tonic and dominant harmony will work.
A neopolitan approach may get you there.
But most of all - your fully diminished 7ths. They are slippery, any one of the four notes can be considered the tonic, so you have four different suggested vii - I resolutions at your fingertips - drop one of the notes kby half a step and you have four more V7 chords to play with. | 