Category: Elise

Annie Lennox | Why

A long-overdue MotD debut for Scottish native Annie Lennox: The lead single from her debut non-Eurythmics solo album Diva (1992), “Why,” was a global hit. The striking video featuring the uncommonly versatile Lennox was comprised of footage which served double duty as a photo shoot for the album cover. From AllMusic‘s review of the album: “The enigmatic vocalist who made a career toying with different notions of gender plays on the concept of fame here — Lennox dresses up in the persona of a solitary Diva trapped by counterfeit glory.”

Starting in C major, the tune shifts to D major at the pre-chorus (1:25), then falls back to C major for the chorus at 1:46; the cycle then repeats.

Sergio Mendes and Brasil ’66 | The Fool on the Hill

1968 saw a distinctive cover of The Beatles‘ “The Fool on the Hill” by Sergio Mendes and Brasil ’66. Like the original, the tune modulates from major to minor as the verse shifts to the chorus (here at 0:47) and back again (1:03).

According to The Sydney Morning Herald, Mendes was enamored of the tune and thought “‘Wow, I think I can do a totally different arrangement.’ He said Paul McCartney later wrote him a letter to thank him for his version of the song.”

Jay Som | Tenderness

From our follower Alex Gold comes the 2019 track “Tenderness” by Jay Som. Known as a DIY/”bedroom pop” singer, songwriter, multi-instrumentalist, and producer, the LA-based Som released her first tracks via the Bandcamp platform. The New York Times calls Som “a nimble, honest songwriter (who) never sacrifices grooves or hooks for some forced idea of lo-fi intimacy.”

The fast 12/8 groove, which initially takes its sweet time falling into place during the intro, drops out at 1:14. Then the groove returns with much more force a few seconds later before a big modulation, jumping up a perfect fourth, hits at 3:15.

The Maccabeats + Naturally 7 | Shed a Little Light

This tune features more of a key-of-the-moment shift than a true modulation, but we hope we’ll be forgiven. ❤ Here are two top-drawer a capella ensembles, The Maccabeats and Naturally 7, collaborating on a gorgeous 2016 cover of James Taylor‘s “Shed a Little Light” (1991), honoring Martin Luther King, Jr. amid Washington, DC’s monuments.

Set overall in Bb major, the tune shifts to a v minor / bVII major / I major vamp as the bridge starts at 1:53, returning to a straightforward Bb major at 2:17.

Cat Stevens | King of Trees

Cat Stevens​’ “King of Trees” is from his 1974 album Buddha and the Chocolate Box, whose focus AllMusic​ describes as “the spiritual nature of his creative quest…the songs littered with religious imagery.” In 1977, Stevens rejected his pervasive music stardom, changed his name to Yusuf Islam​, converted to Islam, and later questioned whether music has a role whatsoever in that religion. During the 1990s, Yusuf returned to songwriting and performing.

An impassioned plea for full recognition of humanity’s inextricable connection with nature, the tune begins with church-like pipe organ and choral flourishes but then shifts to the rich contemporary instrumentation for which Stevens’ music is well known. Primarily in C major, there’s a modulation to Eb at the bridge at 2:28 and a few quick pivots before returning to C major at 2:59.

Enrico Pieranunzi | Jona Che Visse Nella Balena

Italian jazz pianist Enrico Pieranunzi, who has played with the likes of Chet Baker, Paul Motian, and Charlie Haden, released the trio album Play Morricone (2002) with bassist Marc Johnson and drummer Joey Baron. The album’s focus is the broad discography of composer Ennio Morricone, who has written over 400 scores for film and TV.

“Jona Che Visse Nella Balena” (Jonah Who Lived In The Whale), a solo track, modulates at 1:18, 2:36, and 4:10.

The 1975 | I Couldn’t Be More In Love

UK band The 1975 met while living in a council flat as teens. Lead vocalist and rhythm guitarist Matthew Healy describes the group as “a post-modern pop band that references a million things. I don’t even know what my band is half the time.”

“I Couldn’t Be More In Love,” a languid ballad from the band’s 2018 album A Brief Inquiry Into Online Relationships, fits squarely into the breakup anthem category. Soul-infused harmonies pivot back and forth throughout, further underlined by a growing choir of backup vocals. Just as it seems that the tune is tapering to an end, a late half-step modulation hits at 3:12 as the chorus comes roaring back.

Fitz + the Tantrums | L.O.V.

According to AllMusic, LA-based Fitz & The Tantrums plays a “hooky, danceable brand of pop infused with retro soul and ’80s new wave influences.” The band is probably best known for its 2013 single “Out of My League.”

“L.O.V.,” a track submitted by MotD frequent flyer JB, was released on the band’s 2010 debut album. After verses in D minor and choruses in C major, the groove drops out (at first) for a largely instrumental break which alternates between Ab major and Bb major (a bVII major -> I major vamp) from 2:00 to 2:31.

Frédéric Chopin | “Military” Polonaise in A Major

The tonality of the “Military” Polonaise in A Major by Frédéric Chopin, composed in 1838, pivots all over the place during the many repetitions of its regal main theme. Canadian/Israeli pianist Tzvi Erez‘s version includes several more interesting points about the piece in its captions.