Category: Elise

Toni Braxton | Unbreak My Heart

“Unbreak My Heart,” released in 1996 by Toni Braxton, is a Grammy-winning track (Best Female Pop Vocal Performance) written by Diane Warren and produced by David Foster. The tune stayed at #1 on the Pop chart for 11 weeks straight. When Billboard celebrated its 40th anniversary, the track was declared as the most successful song by a solo artist in the Billboard Hot 100 history. The verses are in the key of B minor, with modulations to D minor for the choruses and G# minor for the bridge.

An excerpt from SPIN journalist Charles Aaron’s review: “This exquisitely crafted, heart-pumping l-u-v song has been droning in the produce department of my grocery store for about a year now, but I’d just like to go on record as saying that if it ever stops, I’ll really be heartbroken.”

Sting | Shape of My Heart

In 1993, Sting released “Shape of My Heart,” a track from the album Ten Summoner’s Tales. Sting said of his guest soloist: “One of the greatest harmonica players this century, Larry Adler … he’s played with George Gershwin, he’s had symphonies written for him, he’s a classical player. He was blacklisted by the McCarthy people in the late ’40s, left the US to live in London, and he’s been there ever since.” Adler passed away in 2001 at the age of 87.

The track modulates for the instrumental bridge (2:24 – 2:53), then reverts back to its original key.

Kali Uchis (feat. Bootsy Collins) | After the Storm

Colombian-American R&B/Neo-Soul songstress Kali Uchis released “After the Storm” in 2018. This whimsical track features collaborators Tyler the Creator and funk bassist / vocalist / icon William “Bootsy” Collins.

“The saying ‘if it ain’t broke don’t fix it’ is a perfect way to describe this new track,” (ListenMag). “A silky smooth bass groove (provided by none other than Bootsy himself) which plays along the bouncing synths, transports you to an era of love, soul, and funk.”

Modulations hit at 1:43, 2:07, as the bridge starts at 2:31, and 3:07.

Aretha Franklin | Til You Come Back to Me

Co-written and recorded by Stevie Wonder but never released until a subsequent retrospective album, “Til You Come Back to Me” (1973) was a huge hit for Aretha Franklin, reaching #1 on the R&B chart and #3 on the Hot 100 chart in 1974. The tune was later covered by over a dozen other prominent artists, ranging from Johnny Mathis to Cyndi Lauper. The short bridge (1:30 – 1:51) departs from the primary key of D Major.

Kenny Loggins + Stevie Nicks | Whenever I Call You Friend

“Whenever I Call You Friend” by Kenny Loggins and Stevie Nicks (1978) was released among a slew of late-disco tunes. The track stood out for its kinetic pop sound despite its string-heavy arrangement. There are plenty of modulations, particularly from the instrumental bridge (2:30) onward. The tune, written by Loggins and Melissa Manchester, went top ten in the US and Canada.

Diana Ross | It’s My Turn

“It’s My Turn” (1980), the theme song for the film of the same name, was written by Carole Bayer Sager (lyrics) and Michael Masser (music). The late 70s and early 80s saw Diana Ross‘ continued professional ascent, despite the 1977 breakup of The Supremes, the group which brought her to prominence. A major single for Ross, the tune peaked at #9 on the Billboard Hot 100 chart, #14 on the Soul chart, and #9 on the Adult Contemporary chart. There are multiple modulations, with the first at 0:26.

To quote a friend who is definitely a Diana fan: “When has it EVER not been her turn?” 🙂

The Who | My Generation

#11 on Rolling Stone magazine’s “500 Greatest Songs of All Time” list is “My Generation” by The Who. A short section of AllMusic‘s review of the 1965 release: “An explosive debut, and the hardest mod pop recorded by anyone. Pete Townshend‘s exhilarating chord crunches and guitar distortions threaten to leap off the grooves…” This classic features modulations at 1:19, 1:49 and 2:26.

Neil Sedaka | Laughter In the Rain

Neil Sedaka‘s 1975 release, “Laughter in the Rain,” is well under three minutes long — but it packs in plenty of harmonic complexity. Sedaka had a long career as a Brill Building-based songwriter (including composing “Where the Boys Are” for Connie Francis) but also found his own success as a performer.

The F major of the intro and verse transitions to Ab major at the chorus (0:36) and then back to F major for the next verse (0:57), etc. The track hit #1 in the US and Canada — and #2 in Yugoslavia!