Category: Elise

Dionne Warwick | Always Something There to Remind Me

MotD member Christopher Larkosh contributes Dionne Warwick‘s “Always Something There to Remind Me” (1963), written by songwriting dream team Burt Bacharach and Hal David. At 1:37, the bridge brings a half-step direct modulation along with it; then another key change, perhaps a bit less expected, at 1:51. The tune has enjoyed several covers, the best known probably being Naked Eyes’ 1983 version, which really changes it up by featuring a swing groove!

Chris adds: “This is my favorite modulation; I was born to love it, and I will never be free; it’ll always be a part of me.”

Pharrell Williams | Number One

R&B/pop phenom Pharrell Williams is best known for his worldwide smash hit “Happy.” Earlier in his career, he released “Number One,” featuring a somewhat more sane version of Kanye West. The 2006 tune features a lot of descending chromatic bass motion — rather unusual. The intro (through 0:17) is based on a 4-chord vamp built around F# major, but the first verse (0:17 – 0:53) drops down into an F major/E minor vamp (the F major serving as a “sub V” for E minor.) The chorus, starting at 0:53, reverts to the same setup as the intro; subsequent verses and choruses follow suit.

Nik Kershaw | Life Goes On

Songwriter Nik Kershaw is perhaps best known for his 1984 hit “Wouldn’t It Be Good.” His tunes spent 62 weeks on the singles charts throughout 1984 and 1985 in his native UK — more than the work of any other artist. Kershaw’s 1986 release, “Life Goes On,” features a huge harmonic vocabulary right out of the gate: starting in C# minor, there’s a shift to A minor at 0:08…the first of many.

Tower of Power | So Very Hard to Go

Tower of Power‘s biggest US hit wasn’t one of the powerhouse uptempo funk tracks for which the band is famous. Instead, it was a ballad, “So Very Hard to Go,” which reached #17 on the pop charts in 1973. The verse and pre-chorus are in Bb major, but a modulation to G major hits at the chorus, reverting back to Bb major for the second verse, and so on.

Dolly Parton | Here You Come Again

Dolly Parton‘s biggest crossover pop/country hit of the 70s was likely this 1977 release, “Here You Come Again.” Written by NYC-based megahit composer team Barry Mann & Cynthia Weil, the tune peaked at #1 on the US Billboard Hot Country Singles chart and #3 on the US Billboard Hot 100 chart. Modulations are everywhere, hitting at nearly every verse/chorus intersection.

Johnny Hates Jazz | Shattered Dreams

UK pop group Johnny Hates Jazz scored a worldwide hit in 1987 and 1988, when “Shattered Dreams” was released in the UK and then in the US. The tune modulates up a half-step at 2:00 as the bridge begins. A review on AllMusic calls the tune “…the peak of sophisti-pop before Alternative began to take over the charts. The arrangement is like the audio equivalent of watching a mechanical watch movement.”

Edvard Grieg | Peer Gynt Suite #1: Anitra’s Dream

Here is Edvard Grieg’s “Peer Gynt Suite #1: Anitra’s Dream“ (1876), accompanying the world-class hunting techniques of the Short-Eared Owl. The main theme, starting in minor as the piece begins, is re-stated briefly in a major key at 1:16, reverting back to minor at 1:25.

J. Geils Band | I Do

Released in 1982, J. Geils Band‘s live version of “I Do” took the sound of 1950s a cappella do-wop, added standard rock instrumentation plus horns and harmonica, and turned it into a #24 pop hit. The track was one of the final releases for the Massachusetts-based band, active between 1970 and 1985. The unmissable modulation, introduced by a huge solo drum fill, is at 1:14.

James Ingram | Just Once

James Ingram, a 1980s/1990s pop/R&B artist, songwriter, and 14-time Grammy nominee, spent his early years singing back-up vocals for the likes of Marvin Gaye and Ray Charles. A demo of this 1981 track, “Just Once,” came to the attention of producer Quincy Jones, prompting a record deal. Ingram continued to work with Quincy, co-writing the uptempo pop confection “PYT” for Michael Jackson’s legendary Thriller album.

The bridge brings key changes at 2:51 and 3:05; one more modulation hits as the bridge transitions to the final chorus at 3:24 before one last shift as the outro fades at 4:21.

Willie Nelson + Waylon Jennings | Mamas, Don’t Let Your Babies Grow Up to Be Cowboys

Chalk up another mod for MotD regular Rob Penttinen: Although it was first written and recorded in the 1950s, the signature version of the Country classic “Mama, Don’t Let Your Babies Grow Up to Be Cowboys” was performed by Willie Nelson and Waylon Jennings for their 1978 album “Waylon and Willie.” The tune reached #1 on the US Country charts and crossed over to the US Pop chart as well, peaking at #42. This live version, recorded at Nelson’s own charity event Farm Aid in 1986, modulates up a whole step at 1:10.