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BYU A Cappella | O Come, All Ye Faithful

Installment #3 of “O Come, All Ye Faithful” week is a 2015 version by BYU Vocal Point & BYU Noteworthy. A little heavier on the religious imagery than stuff we normally post here, but a nice arrangement. Key change at 1:53.

Take 6 | O Come, All Ye Faithful

The second installment of this week’s a capella series features a 1991 version by TAKE 6, with a really slick modulation up a minor third at 0:54. Enjoy!

Pentatonix | O Come, All Ye Faithful

Happy Monday! We’re gonna do something a little different this week by featuring five different a cappella versions of “O Come, All Ye Faithful,” all containing (at least) one modulation, of course. Kicking off the week with the 2016 version by Pentatonix, key change at 3:00.

NSYNC | Home for Christmas

Happy Friday! Closing out the first full Xmas week with NSYNC’s “Home For Christmas” (1998). Key change at 2:55. Have a great weekend!

Brenda Lee | Go Tell It On the Mountain

Throwing it back with Brenda Lee’s rendition of “Go Tell It On The Mountain” (1991), with a modulation at 1:45.

Gordon Goodwin’s Big Phat Band | Have Yourself a Merry Little Christmas

Changing it up with an instrumental selection today — “Have Yourself a Merry Little Christmas” by Gordon Goodwin’s Big Phat Band. Modulation at 1:29.

Voctave | You’re a Mean One, Mr. Grinch

Happy Tuesday! Today is our first feature of a group you will see numerous times over the next few weeks, Voctave‘s “You’re A Mean One, Mr. Grinch” (2017). There are a bunch of key changes at the beginning, but you have to listen all the way through just to hear that last chord!

Sarah Brightman | In the Bleak Midwinter

Happy Monday! Kicking off this first full holiday week with Sarah Brightman’s “In The Bleak Midwinter” (2015). Key change at 1:55.

Simon + Garfunkel | America

Released in 1968, Simon and Garfunkel’s “America” doesn’t modulate outright, but features a sense of restless change (befitting its road trip theme) as well as several key-of-the moment sections. AllMusic‘s review deemed it a song whose “sophisticated harmonic invention is toppled by its message,” while Classic Rock History described it as “wistful and optimistic, personal and universal, and most of all, uniquely American.”