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.

Jacob Collier | Hallelujah

Returning to Jacob Collier today, this is hands down the most beautiful rendition of “Hallelujah” (2018) I have ever heard. The voicings, the reharm, the rhythmic profile, and, yes, a modulation from C major to B major. I’m not going to tell you where it is because you have to listen to the whole thing, and you can see it in the music from this video. Enjoy!