Mod of the Day

Patsy Cline | Crazy

We’re throwing it back with Patsy Cline’s “Crazy” (1961), featuring a subtle but effective modulation at 2:00. Considered a top Country classic, the tune has also been covered by Willie Nelson (its author!), Leann Rimes, Linda Ronstadt, Shirley Bassey, Guy Lombardo, and Chaka Khan.

Marvin Gaye | What’s Goin’ On

Marvin Gaye’s soul/R&B classic “What’s Goin’ On” (1971) modulates at 1:38 and then back to the original key at 2:06 as it transitions into another verse. Gaye’s consistent use of 7th chords only added to the track’s rich harmonic tapestry. Rolling Stone ranked the album featuring the single #6 on its list of “The 500 Greatest Albums of All Time.” From AllMusic‘s reverent review: “What’s Going On is not only Marvin Gaye‘s masterpiece, it’s the most important and passionate record to come out of soul music, delivered by one of its finest voices .. Gaye meditated on what had happened to the American dream of the past … arguably the best soul album of all time.”

Jonathan Reid Gealt (feat. Zak Resnick) | September of ’92

Here’s a beautiful contemporary musical theater song by Jonathan Reid Gealt entitled “September of ‘92” (2013) with a stunning vocal by Zak Resnick. Key change at 3:30, but do yourself a favor and listen to the whole song.

Niya Norwood + Nikko Ielasi | Black Girl Magic

Happy February! In honor of Black History Month, here’s a lushly orchestrated, gospel-infused R&B tune, “Black Girl Magic” (2016), co-written by the lead vocalist, Niya Norwood, and performed by Berklee College of Music musicians, led by Nikko Ielasi.

The bridge starts with a sublime modulation at 3:16 and ends with a reversion to the original key at 3:42.

Stefon Harris + Blackout | Until

A beautiful jazz waltz featuring the vibraphone of rising star Stefon Harris. This 2007 tune was originally written by Sting for the Kate & Leopold soundtrack. Modulation at 1:29.

Harris has said, according to All About Jazz: “For me, as an African-American, it’s part of the reason I get up. Jazz is not just fun for me. This is my cultural heritage. When I look at the great Miles Davis, Duke Ellington, Louis Armstrong, John Coltrane, as we go down the line, I feel a great deal of pressure, and honor, to be striving to be a part of this legacy.”

Second Hand White Baby Grand (from “Smash”)

From TV show Smash comes “Second Hand White Baby Grand” (2013), performed by Megan Hilty. This is a great demonstration of modulations that are dramatically motivated. The first is around 1:10, and then we return to the original key around 2:32.

So Close (from “Enchanted”)

We close the week with Alan Menken’s “So Close” from the movie Enchanted (2007). I have always been fascinated by the chord progressions and overall form of this song, given that it doesn’t really adhere to the traditional verse/chorus format. There are actually three modulations in this song — the first at 1:54, the second in the instrumental interlude at 2:37 (up a minor third!), and then back down at 2:50 before the vocal returns.

The Stylistics | Betcha By Golly Wow

In the 1970s, Philly Sound/Philly Soul was similar to Motown, yet also distinct from it — mostly due to its more adventurous harmonies. The Stylistics, one of most popular groups working in the genre, scored 12 R&B top ten hits in a row in the 70s.

This 1971 release changes key twice during the 30-second intro alone (0:14 and 0:28) — pivot modulations aided by colorful compound chords.

Falling Into You (from “Bridges of Madison County”)

Today we feature Jason Robert Brown for the first time on MotD! “Falling Into You” is from his incredible score for Bridges of Madison County (2014). The whole song is worth listening to — key change around 2:30.

If I Dare (from “Battle of the Sexes”) | Sara Bareilles

The theme song from Battle of the Sexes, the 2017 biopic of 1970s tennis phenom Billie Jean King. Performed by Sara Bareilles, its appearance during the film’s closing credits — after the emotional rollercoaster of the movie itself — is an overwhelming moment. Starting in C major, the chorus shifts to C minor (for the first time at 1:08), then back to C major. The bridge, starting at 2:15, brings a shift to a quieter texture, then a jump to F minor at 2:33 — leading up to a triumphant modulation to G major at 3:18.