Category: Elise

Stone Temple Pilots | Sour Girl

Stone Temple Pilots, fronted by the late Scott Weiland, released “Sour Girl” in 1999. The intro (through 0:19) emphasizes G major as a key area, although it also features a flat 7th. The verse (0:19 – 0:56) flips quickly back and forth from D major to D minor (an F# is featured on the melody line on the word “sour ” — coupled with the restless bassline, often suggesting D minor as it shifts as often as every eighth note — adds to the ambiguity).

A far more detailed and scholarly analysis of the tune can be found on the Aaron Krerowicz site.

Supertramp | Dreamer

The UK band Supertramp created material that’s a bit tough to categorize; their tune “Dreamer” is no exception, landing somewhere between pop tune, nursery song, and schoolyard taunt. “Dreamer,” a pop hit in two different decades (the studio version went to UK #13 in 1975; in 1980, a live version hit US #15 and Canada #1).

The tune starts in D major, dips into a gentler section in C major at 1:25, and finally returns boisterously to D major at 3:05. There are several other passing extra-key oddities here and there, as well.

Balcony Scene (from “West Side Story”)

This gorgeous rendition of the iconic balcony scene from Leonard Bernstein‘s West Side Story is accompanied by full symphony orchestra. Modulation at 3:33, plus many other key changes and key-of-the-moment passages. A review from its 1957 Broadway debut: “It takes up the American musical idiom where it was left when George Gershwin died. It is fascinatingly tricky and melodically beguiling, and it marks the progression of an admirable composer.”

Howard Jones | One Last Try

“One Last Try” was a 1992 release by UK New Wave/pop artist Howard Jones, perhaps best known for his 1984 hit “Things Can Only Get Better.” The tune shifts keys quite a few times, including E minor during the first verse, a clear shift to G major during the chorus at 0:38, and some E major during the instrumental bridge at 2:17, which features some lovely arranging for clarinet choir(!) and French horn.

R.E.M. | Stand

Somewhat unusual among R.E.M.‘s often somber output, 1989’s “Stand” features double direct whole-step modulations (2:30 and 2:48) towards the end of this bouncy, catchy Top 10 hit.

Guitarist Peter Buck described it as “without a doubt, […] the stupidest song we’ve ever written. That’s not necessarily a bad thing, though.” He humbly compared the song to The Kingsmen’s “Louie, Louie” in terms of lyrical content.

Bruce Hornsby + The Range | The Show Goes On

“The Show Goes On,” an album cut from Bruce Hornsby and the Range‘s second album Scenes from the Southside (1988), follows Bruce Hornsby‘s production template for his early work with his backing band before he went solo in the 90s. The tune’s overall D major tonality transitions into G major during the bridge (4:08 – 4:33).

Aretha Franklin | United Together

Aretha Franklin was a legendary soul/gospel/R&B/pop vocalist — but also a civil rights icon and humanitarian.

Though it wasn’t one of the mega-hits among her huge catalog, this track clearly shows Aretha’s warm, dignified persona and the uncontainable range of her artistry. “United Together” (1980) modulates at 3:50.

Garbage | Androgyny

UK/US hybrid band Garbage, led by Scottish vocalist/frontwoman Shirley Manson, had scored several hits by the time it arrived at its third studio album in 2001. In keeping with the band’s history of meticulous arrangements and production, the sound of “Androgyny” alternates between synth timbres on the verses and strong guitar-driven choruses, jumping back and forth between A minor and E minor, respectively. But the bridge (1:57 – 2:17) opens up into a completely different texture, bringing strings to the fore as it jumps to an entirely unexpected tonality (Eb major) before returning to the original key.

Stevie Wonder | Where Where You When I Needed You

Another gem from Stevie Wonder‘s deep catalog of classics: “Where Were You When I Needed You.” Released as a B-side in 1972, it was one half of a two-part medley (along with “Superwoman”). The sound was truly ahead of its time, featuring multi-layered synths and state-of-the-art production. Key change at 2:06.

Glasys | Unwinder

Here’s contemporary composer and keyboardist Glasys (Gil Assayas), who toured with Todd Rundgren’s Utopia Tour 2018. Hailing originally from Israel but now based in Portland, Oregon, he’s somehow brought a slice of Frédéric Chopin‘s sound into the 21st century with this track, 2017’s “Unwinder.” There are several modulations, starting as early as 0:10.