Kacey Musgraves, in all her pop-country glory, presents a slickly executed key change in her 2018 track “Space Cowboy.” The song’s intriguing wordplay and atmospheric textures will easily put listeners in a trance. The second verse ends with a refrain which transitions into a laid-back electric guitar interlude.
In the midst of calm ambience, the track is suddenly uplifted as Kacey’s vocals sneakily enter a half-step higher than expected at 2:27! The modulated vocals enter over the reverb tail of the preceding guitar strum and add a tint of brightness to a rather casual tune. It is most definitely one of the most graceful and well-considered moments in Musgraves’s repertoire!
Alternative pop/rock duo Moody Joody might not be mainstream, but their new and unique sound caught the attention of Spotify, which placed the 2021 single “Lockeland” on one of its most followed curated indie-pop playlists. This intense focus put the track on top of Moody Joody’s profile as the duo’s most streamed song, and rightfully so!
The chill-but-driven groove doesn’t align with the flamboyance typical of most key-changing tracks. But the “driving with the windows down” adventure vibes of the song definitely warrant the beautifully executed key change at 2:41. When all the instruments drop out and the vocals make a surprise a cappella entrance — an energizing whole-step up — you can feel the wind in your hair.
If someone asked you to name artists whose repertoire features ingenious modulations, chances are Hannah Montana would not rank high on the list. But the writers of Miley Cyrus’ sensational Disney Channel show’s soundtrack (2006) created some intriguing compositions, especially in the sense of music theory and modulation. Matthew Gerrard and Robbie Nevil formed a partnership around 2006 working for Disney and wrote often for Hannah Montana as well as some other hit Disney Channel productions, including High School Musical.
These two writers used modulations often in their tunes to create that intense burst of energy we all know and love. However, one tune in particular modulates in an extremely strategic and unique way — something not often done in commercial music, let alone youth television soundtracks. “The Other Side Of Me” is part of Hannah Montana’s first season soundtrack. The song has an extremely uplifting energy, constantly shifting and continuously engaging the listener. This engaging quality is driven by the harmonic contour of the song, which includes four keys in total! Rather than using the classic one-time key change at the end of the song, Gerard and Nevil employ a series of modulations to keep the tune moving forward and evolving harmonically, creating sectional contrast and an elevated sense of passion as Miley Cyrus moves through the song.
The tune starts out in the key of A major with a rockin’ V – iv – IV – I progression in the intro and first verse. The pre-chorus progression shuffles these chords but maintains a clear tonic of A major. Suddenly, a transition into the chorus brings the tune up a whole step to B major (0:38), where we remain for the chorus until moving back to A major for the second verse and pre-chorus (1:05). From here, the song modulates back to B major and then moves into the bridge, which includes a modulation to G major for the first half (1:54) and E major (2:02) for the second half. The final chorus brings listeners back to the third chorus in B once again, going out with a bang as the hook, “the other side of me,” plays in the chorus’s home key of B major.
The tune is absolutely genius and well thought out; the transitions among keys are seamless. Miley Cyrus handles the shifting tonality in her stride.
Released in 2005 as the third single from her second studio album, Breakaway, Kelly Clarkson’s “Because of You” has claimed its place as one of the most iconic 2000s songs of all time. While at first listen one might assume Clarkson’s hard-hitting lyrics were written about an ex-lover, the song was actually inspired by her relationship with her father, who left her and her mother when she was only 6 years old.
Shockingly, Clarkson had to fight for this song to be released. She wrote the tune before her American Idol debut when she was only 16; when she brought it to the studio, it was quickly shot down by her producers. Clarkson stated in an interview with The Guardian: “The song really is the most depressing one I’ve ever written. I tried to get it on Thankful, and was laughed at and told that I wasn’t a good writer. So then I tried to get it on Breakaway and the label saw the results, people responding to it, and allowed it to become a single. Then took credit for its success, of course.”
The song is one of strength, intensity, and drama, living on in all the edgy glory of its time, residing on many nostalgic playlists for all of those emotional flashback listening sessions and car ride singalongs. The powerful and slightly cheesy key change at 2:51 is quite appropriate!
Hands On a Hardbody is a little-known but cleverly crafted musical set in 1990s small-town Texas, where the local Nissan dealership decides to sponsor a contest: the contestant who keeps their hand on a showroom-new truck the longest gets to keep it! Described by The Hollywood Reporteras “a low-concept Hunger Games,” the 2013 theatrical adaptation of the 1997 film is a heartwarming comedy featuring complex musical compositions. “I’m Gone” is a duet between characters Kelli and Greg, who share a romance throughout their time in the competition as they dream about making it out of their weary Texas hometown.
Although relatively unpopular in its time, Hands on a Hardbody debuted and had a short run on Broadway, featuring an array of performers who would go on to do great things. The original Broadway cast included Keala Settle, who later performed in Rent and The Greatest Showman, as well as Dale Soules, who went on to act in Orange is the New Black. The New York Times reports that co-composer Trey Anastasio, best known as songwriter and leader of the funk/jazz/bluegrass jam band Phish, compared the experience to “parallel parking a cruise ship.”
The song features a variety of modulations, including a classic whole-step key change at the song’s climax. However, clever composers Anastasio and Amanda Green use their knowledge of vocal range wisely, modulating the tune down a few steps during a short interlude before Greg takes over the lead from Kelli. The song’s chordal structure is dreamy, featuring a classy use of modal interchange as a V7 chord sets up the progression, only to be replaced by its major chord as the song moves to its more hopeful sections.
Perhaps most importantly, the song modulates as it transitions into the hook (1:00, 2:02). The composers take listeners up a major fourth with a classy V/IV progression that brings sparkle into the tune, creating an uplifting transition into the song’s hook. Bringing a sleek pivot chord into play makes listeners feel a hopeful shift while still saving the “big key change” for the number’s finale (4:30).
All of these factors make “I’m Gone” a fabulous showcase for acting and vocal technique — and a song worth listening to.
Maya Wagner is a singer/songwriter and music producer currently studying at Berklee College of Music. Maya is passionate about sharing her experiences with mental illness and her LGBTQ identity through her music. She blogs about all things music production on her website and has established a broad web presence as an artist, performer, and producer.
Maya, MotD’s first intern, is shifting over to our our regular contributor team in April 2021, so look for more of her posts! Welcome, Maya!
We briefly covered this tune in January 2018. We hope you’ll enjoy this expanded post by our intern, Maya.
The release of Dangerous Woman, Ariana Grande’s head-bopping 2016 album, marked the start of the singer’s transition from innocent Nickelodeon singer/actress to full on pop idol. The album is full of dangerously sexy hits, but one song in particular ties up all of Grande’s sass and style into one stellar track.
The A.V. Club captures the essence of the tune with its review: “The horn-peppered “Greedy” is an exuberant R&B-pop earworm on which (Grande) has a blast indulging her inner gospel diva.”
The song features a brilliantly arranged horn section which enhances and reinforces the songwriting and production genius of Max Martin. It isn’t surprising that Martin also happens to have co-written and produced Brittany Spears’ hit, “… Baby One More Time,” as well as P!nk’s dance party must-have, “Raise Your Glass.”
On “Greedy,” Martin takes an epic sing-along chorus and transforms it into a wall of sound which hits listeners from the moment the song begins. The tune has that “early 2000s dance floor” sound, but also includes some 2016 trademarks such as the lush vocal stacks that are featured in the song’s hook. With funk undertones in the bass, gospel-style vocal stacks, and a disco groove, the song is appealing to a wide audience and really takes synth-pop to the next level.
The song is just repetitive enough for the modulation at 2:37 to pull the listener back in as the song explodes into a final chorus, sprinkled with Grande’s whistle tone adlibs and breathy riffs.
Maya Wagner is a singer/songwriter and music producer currently studying at Berklee College of Music. Maya is passionate about sharing her experiences with mental illness and her LGBTQ identity through her music. She blogs about all things music production on her website and has established a broad web presence as an artist, performer, and producer.
Maya is MotD’s first intern. Watch this space for her continuing contributions!
Taylor Swift’s graceful storytelling talents continue to baffle industry professionals and average listeners alike. Swift has remained at the forefront of commercial music since the release of her first pop-country album in 2006. Her ability to keep the world on its toes with a constantly shifting image and musical style proves that Swift has branding prowess.
Before Covid-19 overtook the world with its devilish tendencies, Taylor Swift’s chordal structures and harmonic content persisted in fitting nicely into the “basic pop chord progressions” box. Before 2020, Swift had only two songs in her catalogue featuring key changes (“Love Story” and “Getaway Car”). As the Covid pandemic unfolded, Swift had no choice but to postpone and eventually cancel the oh-so-anticipated LoverFest, a Boston-based concert event where she’d planned to perform alongside some of today’s biggest pop music icons. Upon the cancellation of the event, Swift’s social media presence dwindled and the hype began to fade … until July 24th, 2020, when Swift’s longest album ever, folklore, was suddenly available for streaming. Months later, Swift announced that yes, another surprise album would be available for streaming only hours after its release was announced. Swift considered this album, evermore, the “sister album” to folklore.
Both folklore and evermore feature poetic writing which flows through the biographies of an array of characters and contrasts with Swift’s previously autobiographical content. The aesthetic is one of storytelling and encompasses the namesakes of the album, creating a flow of thoughts and ideas which all somehow fit together like puzzle pieces in a world of diverging characters and shifting perspectives. The new sister albums explore music theory to a depth which was simply never present in Swift’s previous releases. New chord structures, modal interchange, and modulations flow throughout the albums. Evermore even features two songs in 5/4 (“tolerate it” and “closure”)!
One piece which has caught the attention of many old-time Taylor lovers is folklore track “betty.” The song’s story is told from the perspective of a teenage boy, James, as he struggles with his feelings for Betty, whom he deeply hurt. The song’s musicality is phenomenal in many ways, including a bass line which walks down the C major scale and a progression featuring a bittersweet C/B chord in the verse. We find a beautifully executed whole step key change at 4:05 which leads listeners into the final chorus with a release of passion as James finally decides to “show up at [Betty’s] party” and ask for her forgiveness. The song’s storytelling, form, and modulation are reminiscent of Swift’s “Love Story,” which also uses a key change in the final chorus to create a burst of hope and happiness as the story shifts in climax towards positive resolution.
“betty” is nostalgic for lovers of Taylor Swift’s early pop-country writing and brings something those long-time Swifties love into an album full of stories. The song is calculated, raw, and rich with musical elements to analyze. With well-treated guitar samples and a beautiful use of panning, the track is polished and sophisticated while remaining spritely and zestful. Take a listen for yourself …
Maya Wagner is a singer/songwriter and music producer currently studying at Berklee College of Music. Maya is passionate about sharing her experiences with mental illness and her LGBTQ identity through her music. She blogs about all things music production on her website and has established a broad web presence as an artist, performer, and producer.
Maya is MotD’s first intern. Watch this space for her continuing contributions!
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