Author: Mod of the Day

Tomorrow x Together (TXT) | Ito

“Tomorrow x Together, aka TXT, is … a boy band known for seamlessly switching between genre influences,” (Billboard). “The group first debuted in 2019 with EP The Dream Chapter: Star, which reached #140 on the Billboard 200 and became the fastest K-pop album to top the World Albums chart at the time. (The group) earned their first #1 on the Billboard 200 in 2023 with The Name Chapter: Temptation.“

“Ito” is a track from the 2021 album Chaotic Wonderland, the South Korean vocal quintet’s first release featuring Japanese language material. At 2:17, the bridge drops a key-of-the-moment passage, but it’s just a bait-and-switch anticipating a surprise half-step modulation which takes effect mid-phrase at 2:57 with next to no fanfare.

Many thanks to our frequent contributor Ziyad for this submission!

Jacques Dutronc | Paris s’Éveille

“Jacques Dutronc might be a cool name to drop when discussing debonair Gallic musical greats, but there is a surprising dearth of material written about him outside the Francosphere,” (The Guardian). “In his home country he is a household name and the subject of countless biographies … The Parisian’s ascent to teen idol status wasn’t overnight. He burst through as a positively ancient 23-year-old … charting with the garage R&B of ‘Et Moi Et Moi Et Moi‘ in 1966. Hitherto, he’d been known as a fine session guitarist for other artists such as Eddy Mitchell, Micky Amline and Gene Vincent.

As a teenager, Dutronc, like so many others, was inspired by the burgeoning sound of rock’n’roll coming out of the US, and in 1959 he picked up the guitar for the first time … Just when it looked as if he might be on to a winning streak, Dutronc was called up for national service, and (his musical projects) El Toro and Les Cyclones fizzled out. Dutronc was impossibly handsome and suave, emoting in the boulevardier style to keep the mums on side, with just enough Dylanisms (shaggy fringe, chattery, circumlocutory rapping) to make him positively au courant … The hits kept coming, and in 1968 he scored another #1 with ‘Il Est Cinq Heures, Paris s’Éveille’ (It’s five o’clock, Paris is waking) … In France, Dutronc is as synonymous with (the 1960s) as les Beatles and la mini-jupe, while in territories elsewhere his cigar-chomping visage is the true embodiment of French pop at its most chic.”

“Paris s’Éveille” alternates between A minor for the verses and A major for the choruses. An agile flute darts around the edges of the vocal line, nearly constantly present but never upstaging the lyric.

Nicholas Ma | How Do You (Not) Write a Fugue?

“Nicholas Ma (b. 2001) is a pianist-composer living in Oakville, Ontario, Canada,” (Charleston International Music Competition). “He is in his third year as an undergraduate at McGill University’s Schulich School of Music and is pursuing a double major in Piano Performance and Composition … Starting piano at the age of 4, Nicholas has also obtained the ATCL Performance Diploma with the highest accolade, Distinction, from Trinity College London. More recently, Nicholas was the recipient of a Gold award from the 2021 Grand Maestro International Music Competition.”

When he’s not writing assignments for Counterpoint classes, Ma is working on his piano studies (see his interpretation of Sonetto 104 Del Petrarca, by Franz Liszt, below). Ma’s fugue, “How Do You (Not) Write a Fugue” (2023) traverses various keys of the moment, but one particularly clear modulation is actually announced in the lyrics. We won’t spoil the surprise with a timestamp! From Ma’s notes in the Youtube video description:

“In my first semester of tonal counterpoint class, our final assignment was to write a 4-voice fugue… so I said YOLO and wrote this meme fugue as the final assignment – with the lyrics being my revision notes from class haha. Huge shoutout to Prof. Nicole Biamonte for accepting this fugue as a valid assignment and not instantly dunking on my grades, especially with the “intentional parallel fifths” section. I later gathered four singers (with me playing the piano part) and played through this … It was incredible – the singers learnt and sung this fugue at this level with only two hours of rehearsal! I also have to shoutout my two inspirations for this fugue: the first being my favorite fugue to this day, Glenn Gould’s parodistic ‘So You Want to Write a Fugue?’ and Freddy Wickham’s self-explanatory ‘Ontological Fugue.’

I decided to go in the direction of these two pieces, but take a step further by adding theatrics, intentional “counterpoint error” sections, and slipping in familiar quotations (Art of Fugue, Double Violin Concerto, Christmas tunes). The piece can be summarized in three sections – The exposition (which introduces basic fugal techniques), the middle/”development” (where errors/fugal parodies are gradually introduced in a tongue-in-cheek manner), and the “recapitulation” (where the singers break the 4th wall, address the listener, and question the philosophy of compositional aesthetics and rules… yep it gets pretty off-the-rails haha).

Overall, I wanted a piece that could be appreciated by all levels – those that do not have much familiarity with fugal writing will gain something from it, and those that are experts in fugues will enjoy the humorous parodistic subversion of counterpoint expectations. (And of course the main reason, I needed to write a fugue for a tonal counterpoint class assignment).”

The Isley Brothers | The Highways of My Life

“Rudolph Isley, who held dual roles in the influential vocal group the Isley Brothers as a mellifluous harmony singer and co-writer of many of their greatest hits, died on Wednesday at his home in Chicago,” (New York Times). “He was 84. Mr. Isley spent much of his three decades with the Isley Brothers harmonizing with his brother O’Kelly in support of Ronald Isley’s lead vocals … He and his brothers wrote a number of pivotal hits, beginning with ‘Shout,’ the group’s 1959 breakthrough, which applied the dynamic of gospel music’s call-and-response to a pop context. They also wrote the enduring political anthem ‘Fight the Power,’ a Top Five Billboard hit, as well as the Top 10 pop hits ‘It’s Your Thing’ and ‘That Lady.'”

“The Highways of My Life” is the closing track of the Isley Brothers’ 1974 3+3 album, “the gateway to the Isley Brothers’ golden, shimmering 70s period,” (BBC). “This was the point where, after radicalizing since forming their T-Neck label, the original trio of Rudolph, Ronald and O’Kelly Isley augmented their sound with their younger brothers Ernie Isley, Marvin and Rudolph’s brother-in-law, Chris Jasper. They then enjoyed their third life (after their early doo-wop and subsequent Motown career) becoming an all-conquering rock-soul ensemble that produced a remarkable run of hits … Here was a band that could appeal in equal measure to rock fans and soul aficionados. The record mixed originals and covers, light and shade … (an) album which showcases them at the peak of their powers … brilliance writ large.”

After an intro that runs through 0:55 and touches on several keys (most prominently E major) and a first two verses in Ab minor, the chorus of “The Highways of My Life” (in Ab major) finally arrives at 2:09. Multiple interlocking vocal parts carry the chorus, further setting its sound apart from the simpler texture of the verse. At 2:37, we’re back into Ab minor for the next (and final) verse; 3:20 brings another chorus, which eventually does double-duty as a fading outro.

Randy Rainbow | Speaker of the House

Given the chaos surrounding the election of a new Speaker, today we feature Randy Rainbow’s parody of “Master of the House” from the musical Les Miserables, released earlier this year.

The track begins in Ab minor and shifts to Ab major at 1:35. A quote of “Castle on a Cloud,” also from Les Mis, appears at 2:20 in A minor. After briefly reverting back to Ab minor at 2:32, there is a return to A at 2:42, and a final modulation up to Bb major at 3:20.

Al Green | The Message is Love

“The ’80s found Al Green again connecting to pop and R&B audiences with his brand of charming and sometimes erotic gospel,” (AllMusic). “After signing with the independent A&M in 1985, Green seemed to grow a little tired of straight-ahead gospel fare and satisfied his yen for pop by way of covers or songs with ambiguous meanings.” … on the 1989 release I Get Joy, “Green sings about everything from an indifferent landlord and returned money to sweating out employment woes, making you believe every syllable.”

“Vocally, Green’s a first cousin of Smokey Robinson, a Motown tenor with vocal cords more supple than rubber bands,” (Deseret News). “And listening to him bob and weave, listeners may feel deja vu for the heyday of The Temptations and the Four Tops … But Green has built on the groundwork such groups laid down and turns the tradition into his own. And that’s no easy trick … The man also has a knack for writing songs that are subtle enough to work on both romantic and religious levels.”

Green’s athletic performance of “The Message Is Love” is from the short-lived late night all-music program Night Music (1988-90, initially known as Sunday Night), hosted by saxophonist David Sanborn. “The show never became ‘popular’ per se, but it presented high quality and eclectic music on network TV … in a way that seems unfathomable …” (NoahJazz). Backed by the stellar house band with Hiram Bullock (guitar), Marcus Miller (bass) and Omar Hakim (drums) at its center, Green’s vocal fireworks fully ignite in the second half of the tune. The short bridge (2:50 – 3:08) shifts the tune from the original C major to Ab Lydian before leading us back to the original key for a romp of a solo by Sanborn. Effectively rehearsed tunes, always performed 100% live in the studio, were the stock and trade of the much-missed Night Music.

Neil Young | Theme from “Philadelphia”

“… Philadelphia (1993) gives us some star performances and was one of the first mainstream movies to address HIV/AIDS and homophobia with nuance and sensitivity,” (Collider.com). “The film was written by Ron Nyswaner and directed by Jonathan Demme.” From a review from Dan DeNicola: “Graced with splendid performances, this often stirring drama not only has its heart in the right place; it delivers a strong, convincing portrait, as well as a lesson about decency in a story aptly set in the City of Brotherly Love.”

Spoiler alert …

The film’s main character, attorney Andrew Beckett (Tom Hanks) succumbs to HIV after a hard fight not only for his life, but also for his rights after his law firm fired him due to his medical condition. But in the days before the drug AZT became available in the late 90s, HIV was nearly always a deadly disease. The film was quite a breakthrough and earned Hanks his first Oscar. “‘More people have stopped me on the street or come up to me in airplanes or sidled up to me in restaurants to talk about this movie than any other job I’ve done, and almost all of them have said something like, Thank you for doing it,’” (MentalFloss).

The film’s closing theme, Neil Young’s “Philadelphia” and the opening theme “Streets of Philadelphia” (Bruce Springsteen) were both nominated for Best Song Academy Awards in 1994; Springsteen’s track was the category’s winner. The short melody of Young’s track is a gently off-kilter seven measures of 4/4 featuring plenty of leisurely quarter-note triplets. The first and last iterations are in the same key, but there are many modulations among the repeated iterations in between.

The Playmates | What is Love?

“The Playmates, an American rock and roll vocal group formed in the late 1950s, gained immense popularity during the rock and roll era,” (OldTimeMusic). The group mixed doo-wop and rock and roll styles at a time when the pop charts were starting to feel the purchasing power of a new teenaged audience. In 1954, the very first tune on the pop charts from the rock genre, Bill Haley’s “Rock Around the Clock,” set the stage for the genre’s ongoing popularity.

The songwriters of this 1959 release, Lee Pockriss and Paul Vance, also wrote “(Alone) In My Room,” sung by Verdelle Smith, the subject of an earlier post. “What is Love” reached #15 on the US pop charts. During a run time of just over two minutes, the track’s tonality travels up by half-step from F# major up to A major, with the first modulation hitting at only 0:12!

Many thanks to regular contributor Rob P. for this submission!

Boyce Avenue | I Wanna Dance With Somebody

Boyce Avenue, an American cover band based in Sarasota, FL, is comprised of three brothers — Alejandro, Fabian, and Daniel Manzano. The group formed in 2004, has released three studio albums, an boasts 16.4 million YouTube subscribers, making them the most viewed independent band in the world.

Their cover of Whitney Houston’s classic hit features Jennel Garcia on vocals. It begins in Gb and modulates up a half step to G at 2:12.