A good example of a common-tone modulation is presented by Mozart’s Fantasia in C Minor, K. 475 (1785). A shift from B major to D major jumps out at 2:32 via a repeated F# in the melody as the accompaniment briefly pauses. French pianist Ismaël Margain, a graduate of Conservatoire Supérieur de Musique in Paris, is at the keyboard.
Category: Elise
Charles Cornell | Imagine
As a response to the COVID-19 crisis, actress Gal Godot recently convened a group of celebrities to cover John Lennon’s “Imagine.” The vocals, while heartfelt, are a cappella and all over the place in terms of key. Multi-instrumentalist Charles Cornell has devised an accompaniment which knocks some of the harsh edges off of the, um, transitions.
Many thanks to MotD contributor Alex Mosher for this submission!
UPDATE: a few days later, the YouTuber Charles Cornell uploaded this update, explaining how he approached smoothing out the modulations:
Warren Zevon | Accidentally Like a Martyr
From AllMusic’s review of Warren Zevon‘s tune “Accidentally Like a Martyr” comes this effusive praise for the often paradoxical singer-songwriter: “…a hard-bitten tough guy and writer of the noir wave classics ‘Werewolves of London’ and ‘Excitable Boy’ turned out to have a soft underbelly: ‘Accidentally Like a Martyr,’ taken from his 1978 breakthrough album, Excitable Boy, is a starkly realistic song about a screwed up love relationship…”
IMDB reports that Zevon, “the son of a gangster who was a Russian Jewish immigrant and a Mormon Midwestern mother of English descent,” had a difficult childhood and a false start in the music business as a folk/rock singer during the 1960s. IMDB continues: Zevon “establish(ed) himself as one of the most offbeat and intelligent singer-songwriters in the mid-1970s” before his death of lung cancer at the age of 56 in 2003.
Starting in F major, there are modulations to Ab major instrumental sections at 1:30 and 3:04; the latter has been used as bumper music between segments of NPR’s news programming for years. Both of the Ab sections have an off-kilter meter (alternating bars of 4/4 and 3/4) which only adds to the tune’s anthemic sound. Many thanks to veteran mod scout JB for this contribution!
Kenny Rogers + Dolly Parton | Islands In the Stream
Kenny Rogers, a chart-topping country and pop artist over many decades, passed away yesterday at the age of 81. According to About.com: “Though he was most successful with country audiences, Rogers charted more than 120 hit singles across various music genres, topped the country and pop album charts for more than 200 individual weeks in the United States alone, and sold over 100 million records worldwide, making him one of the best-selling musical artists of all time.”
Written by the Bee Gees, the 1983 hit was named after an Ernest Hemingway novel. The track was originally intended for release by R&B legend Marvin Gaye, which would have made for quite a different sound! The song went to #1 on Billboard Pop, Country, and Adult Contemporary charts.
Starting in C major, the tune features an early modulation to Ab major (1:24).
Melissa Manchester | You Should Hear How She Talks About You
According to Billboard, producer Arif Mardin described Melissa Manchester’s “You Should Hear How She Talks About You” (1981) as “a real departure, because it has a new wave dance quality and she had been known for her ballads.” A 1985 Albany Herald interview stated that the singer “had to be dragged kicking and screaming into [the] studio” to record the tune.
She needn’t have been concerned. Although she’s better remembered for the ballads “Don’t Cry Out Loud” and “Midnight Blue” now, YSHHSTAY became Manchester’s highest charting and most broadly appealing record, reaching #10 or higher on the Billboard Hot 100, Adult Contemporary, and Dance charts and winning a 1982 Grammy for Best Female Pop Vocal Performance.
The tune starts in A minor, modulating to B major as the chorus begins at 0:44 and reverting to the original key at 1:15; the pattern continues from there.
XTC | Wrapped In Grey
AllMusic.com calls XTC “one of the smartest — and catchiest — British pop bands to emerge from the Punk and New Wave explosion of the late ’70s. From the tense, jerky riffs of their early singles to the lushly arranged, meticulous pop of their later albums, XTC’s music has always been driven by hook-laden songwriting of guitarist Andy Partridge and bassist Colin Moulding.” In an interview with Popdose, Partridge described 1992’s “Wrapped in Grey” as “ersatz Bacharach” and one of the “perfect songs” of his career, feeling that he had “exorcised a lot of those kind of Lennon-and-McCartney, Bacharach-and-David, Brian Wilson-type ghosts out of my system by doing all that.”
Drenched with harmonic tensions from its opening, the tune starts in B minor, transitioning to F# major for the chorus from 1:19 – 1:57; the cycle then repeats. The “everything but the kitchen sink” arrangement of saloon-style piano, sweet strings, varied percussion, wide-ranging backing vocals, and a chaotic, meter-shifted tag at 3:31 make this waltz a true “Exhibit A” from the later output of this singular band.
Max Embers | For Once In My Life
Max Embers, an LA-based singer/songwriter originally from Germany, has produced many original tunes, including “Lookin’ Up,” featured on the TV series Songland in 2019. On the series, Embers competed with several other songwriters to have a song chosen for a performance setlist by John Legend.
Here, Embers covers a 1967 classic by one of his musical heroes, Stevie Wonder: “For Once In My Life” (2019). The modulation is at 2:05.
Let’s Give Up (from “Portlandia”)
As its final season reached its end, the music-packed TV comedy Portlandia featured the tune “Let’s Give Up” (2017). The lightweight pop feel of the track is completely out of character for the personal musical style of vocalist Carrie Brownstein, who’s spent much of the past 25 years as a vocalist and guitarist for the punk-tinged indie rock band Sleater-Kinney. But it’s 100% on-brand for the series, which saw both Brownstein and her vocalist/multi-instrumentalist co-star Fred Armisen lightheartedly hop from genre to genre throughout.
From Stereogum‘s review: “The song flips through a series of major topics, like global warming and trying to tune out the news, before taking on the numbing convenience of social media and binge-watching TV.” Portlandia’s final seasons weren’t among its best overall, but you’d never know it from this glittery, cutting satire.
Starting in F# minor (the track starts at the 0:28 mark), the kicky funk/pop tune modulates up to G# minor for the chorus at 1:02, reverting to F# minor for verse 2 at 1:19.
Nate Wood | Stand By Your Man
Nate Wood is perhaps best known as the drummer for the modern electric jazz quartet Kneebody, which the New York Times calls “a resolutely un-pindownable band” using “a common jazz instrumentation to make a somewhat less common amalgam of urban-signifying genres, from electro-pop to punk-rock to hip-hop.”
In addition to working with Kneebody since 2002, Wood has balanced sideman stints with the likes of George Harrison, Sting, Chaka Khan, guitarist Wayne Krantz (Steely Dan), Armenian pianist Tigran Hamasyan, and Taylor Hawkins (Foo Fighters). Wood’s several solo releases (starting with 2003’s Reliving) showcase his writing and vocal abilities; he played and recorded every instrument on the debut album.
“Stand By Your Man” has a plodding groove, but features a dense harmonic tapestry. Starting in C major, the track shifts about mysteriously, its cadences far from expected. Near the end of the track (3:04) the tonality shifts, obscured by the unconventional harmonies and frequent inversions. At 3:30, the fog clears: the harmonies simplify as the first phrase is repeated, now unmistakably in D major.
Ronnie Laws | Always There
Saxophonist Ronnie Laws, the younger brother of flutist Hubert Laws, started his career in the band of trumpeter Hugh Masekela. In 1972, Laws joined R+B/funk legends Earth, Wind + Fire and played on their album Last Days and Time before moving on to his solo career.
During 1975, Laws teamed up with jazz trumpeter Donald Byrd, known as one of the only jazz musicians from the Bebop era who also explored funk and soul while remaining primarily in the jazz genre. According to AllAboutJazz.com, with Byrd’s assistance, Laws “soon signed his first recording contract with Blue Note records, resulting in the impressive debut album Pressure Sensitive (1975)…The release rapidly emerged to become the longest-selling album,” to date, in the 42-year history of the storied record label, reaching #25 on the Billboard Soul chart and gaining extraordinarily broad rotation across R&B, Soul, Jazz, and Rock radio stations.
The track is built around slightly off-kilter tuning, but it’s closest to F# minor. What’s definitely clear is the bridge’s departure from the regular key, as well as from the otherwise all-pervasive groove, from 3:01 – 3:28.
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