Category: Elise

Duncan Sheik | Barely Breathing

Duncan Sheik‘s tunes are full of quirks — harmonic and otherwise — but fewer full modulations. His best-known hit, 1996’s “Barely Breathing,” sticks to fairly straightforward territory through the first two verses and choruses. But then the bridge (2:40) presents several short but compelling key-of-the-moment segments (I major / V minor pairs) that don’t closely relate to the rest of the tune — but then, that’s often true of a good bridge. By 3:09, we’re ready to dive back into the familiarity (and relative simplicity) of the chorus as it reverts to the original key.

Kenny Loggins | This is It

This 1979 release by Kenny Loggins, with co-writing, keyboards, and back-up vocals by Michael McDonald, features the harmonic complexity for which both artists are known. The bridge starts at 2:43, shows signs of a big change on the way at 2:57, and wraps up at 3:06 as the modulation hits.

According to Loggins, the melodic and harmonic ideas for the tune were finished long before the lyrics. The songwriting team had initially focused on a crossroads moment in a troubled romantic relationship. But the topic shifted to an adult son encouraging his ailing elderly father to fight hard for his health in the face of a worsening medical condition — a slice from Loggins’ own life. An unlikely hit, for sure, but it reached #11 and won a Grammy.

Hall + Oates | Method of Modern Love

By the mid-80s, Hall and Oates had scored a huge number of hits — more than any other duo in history. While 1984’s “Method of Modern Love” isn’t among the band’s top layer of major hits, it features a fun, goofy video concept, a shimmery modulation at 3:50, and a document of what might have arguably been pop music’s “peak mullet” moment.

Genesis | Turn It On Again

One of the singles from Duke, Genesis‘ 1980 album, “Turn It On Again” features plenty of modulations — as well as mixed meters! This album marked the band’s biggest departure from its “prog” rock origins towards its later pop-friendly material — all the while never losing its infectious harmonies. Phil Collins serves yeoman’s duty on both vocals and drums.

0:48 transitions up a half step, then back to the original key at 1:03; back up at 1:17, then back to the original key at 1:26. We start the cycle again with verse two at 1:34. Plenty of pedal point on this track, with the bass note remaining static while chords change above.

Fishbone | Freddie’s Dead

Soul legend Curtis Mayfield scored a 1972 hit with “Freddie’s Dead,” originally featured in the movie Superfly. Fishbone, a California-based funk/punk/ska/soul hybrid, cranked out a frenetic 1988 cover version that takes the energy up another notch. Modulation at 2:15, then a reversion back to the original key at 2:25.

10cc | The Things We Do For Love

1977 saw a bouncy, harmonically restless pop hit by British band 10cc, “The Things We Do for Love.” The instrumental intro starts in key A; verse 1 modulates at 0:19 into Key B; another key change at the intro to verse 2 reverts back to Key A (1:15); another at the bridge (which could also be heard as an instrumental verse) into key B at 1:38; back to Key A at 2:16; and finally back to key B at 2:34.

Cliff Richard | We Don’t Talk Anymore

A 1979 UK #1 (US #7) hit for British pop star Sir Cliff Richard, “We Don’t Talk Anymore” was released just before Richard won the Order of the British Empire for his service to music. The tune starts very simply, throws in some more complex progressions to get us a bit off-balance at 1:30, modulates at 1:40, then reverts to the original key at 1:49. The cycle repeats in the second verse/chorus (3:02 / 3:11 / 3:19).

Gabriel Kahane | Charming Disease

Pianist/vocalist/composer Gabriel Kahane writes chamber music for the classical stage, but also gigs regularly in bars and pubs with his genre-busting contemporary acoustic music. “Charming Disease” (2011) has a bridge which hits at about the 2:00 mark, modulates at 3:01, and then settles back into the original key at 3:13.