Elise – Page 90

Brent Bourgeois | Dare to Fall In Love

Vocalist, keyboardist, and songwriter Brent Bourgeois released “Dare to Fall In Love” in 1990 as the single from his first solo album after leaving the band he co-fronted during the late 80s, Bourgeois Tagg. The lushly produced track builds to a modulation at the start of the bridge (2:36), remaining in the new key throughout the return of the chorus (3:03) and the remainder of the tune.

Bourgeois remembers the tune’s origins well: “I didn’t want my record company to hear it, because it was very ‘pop,’ very commercial, and didn’t fit the tone of the rest of the record. I was afraid if they heard it, they would want to make it the single, and the record would be misrepresented to the public. Well, they heard it, and that’s exactly what happened.”

Average White Band | Schoolboy Crush

Chalk up another mod contribution for JB: “Schoolboy Crush” was a 1975 hit single for Scottish funk stalwarts Average White Band, reaching top 30 on the US pop and R&B charts. The album which featured the track, Cut the Cake, gained ongoing fame when it scored positions of #4 (Pop) and #1 (R&B) on the year-end album charts. The tune has enjoyed a renewed lease on life through extensive sampling by hiphop artists from TLC to Floetry to Eric b and Rakim to NAS.

Starting in E minor, the tune has a tritone shift to Bb minor at 1:17, then G minor at 1:40 and back to E minor.

Lisa Stansfield | All Around the World

UK pop/soul chanteuse Lisa Stansfield‘s career breakthrough was the smash 1989 hit “All Around the World.” The short intro ends by winding into the song’s sole modulation: a string-heavy compound chord which rings out in a crescendo from 0:14 – 0:18 leading into the first verse. The tune is driven by compound chords throughout and plenty of melodic tensions during the chorus.

The Beach Boys | I Get Around

The Beach Boys‘ first charting single, 1964’s “I Get Around,” was co-written by band members Brian Wilson and Mike Love. Starting in G major, the tune transitions to Ab major at 1:06.

Rolling Stone magazine’s Anthony DeCurtis praised Wilson’s tendency to be “very complex and have every single thing you do have an emotional impact, and have the hearer not even be aware of it — just hear it the first time and get it. That’s hard.”

Natalie Cole | I Miss You Like Crazy

Usually, modulations tend to happen closer to a tune’s end than the beginning, but seven-time Grammy winner Natalie Cole’s “Miss You Like Crazy” (1989) breaks that trend. The track became a huge hit in the US, Canada, and Europe.

“‘So many things have happened in my life,'” Cole reflected on her father Nat King Cole’s death when she was only 15. “‘But the death of my father remains the most painful.'” (Billboard). “‘I adored him in a way that only a teenager girl can adore her dad. When he died, I fell apart. For years, I ran from his memory. I even ran from his music. When I inadvertently stumbled into a career, I was thrilled to learn that I could sing rhythm and blues. I loved singing soul. But it wasn’t until I found the courage to sing the music associated with my father that I found my deepest peace and greatest satisfaction. The fact that even in Dad’s death we have grown closer brings me a beautiful comfort. It makes me think we ascribe too much severity to death. Spirit doesn’t die. Music doesn’t die. And the love that links spirit to music knows nothing about death. That spirit, that music, that love is eternal.’”

This power ballad modulates multiple times starting nearly right out of the gate (0:42) and continues with other shifts. At 2:18, the key locks in at the bridge and remains the same for the duration.

Phil Collins | Two Hearts

Phil Collins‘ career only grew after leaving Genesis, the pioneering UK-based prog-rock band. Producing other artists’ albums, writing for movie soundtracks, and cranking out multiple solo albums were all on the menu for Collins.

“Two Hearts,” a 1988 pop confection based on a relentless fast shuffle, starts off simply enough (the music starts at the 0:40 mark) in G major. But the bridge suddenly takes flight at 2:44, featuring syncopated kicks and multiple modulations before settling into Ab minor, then transitioning back into a chorus (in the original key, although it feels entirely new) at 3:12.

The Babys | Every Time I Think of You

1979’s “Every Time I Think of You” by the UK band The Babys (yes, that’s the spelling) has too many modulations to track. Each verse/chorus pairing, after its series of modulations, reverts to the original key for the start of the next cycle. The frontman was John Waite, who later enjoyed a successful solo performance career. The tune hit top 10 in the US, Canada, and Australia.

Van McCoy | The Hustle

“The Hustle” (1975) by Van McCoy was one of the biggest early disco hits. The tune was a global smash, going top 10 in the US, the UK, South Africa, New Zealand, Canada, and most of Europe, then later appearing on the soundtracks of well over a dozen movies and TV shows.

The tune alternates between F major and Ab major (at 1:11 and 1:32, then again at 2:52 and 3:13.) After an intro featuring backup-style vocals but no lead vocal, most of the remainder of the tune is instrumental, featuring some of the most well-known flute and piccolo work in pop music. Happy weekend to all!

Mike Stern | What Might Have Been

Genre-hopping guitarist Mike Stern has worked with Miles Davis, Brecker Brothers, and Blood Sweat And Tears. He delivers a beautiful contemporary jazz fusion ballad in “What Might Have Been” (2002). Stern takes one of the guitar’s few weak links (the ability to strongly sustain a note without effects) and augments it by doubling it with the human voice, employing the enigmatic wordless vocals of Elisabeth Kontomanou.

The modulation is at 1:30, with a return to the original key at 2:05; after the guitar solo, the pattern repeats at 3:54 and 4:29.

Cathy Dennis | Too Many Walls

British pop singer and songwriter Cathy Dennis released “Too Many Walls” in 1991. The tune was co-written by Anne Dudley, best known for her work with Art Of Noise. The track reached chart positions of US Adult Contemporary #1, US Hot 100 #8, and top 20 in the UK, Ireland, and Canada.

After establishing her own performance career, Dennis went on to write songs for Clay Aiken, Kylie Minogue, and Kelly Clarkson, as well as the chart-toppers “Toxic” by Britney Spears and Katy Perry’s “I Kissed a Girl.”

After an instrumental bridge (2:54 – 3:14), the tune modulates up a whole step.