“Hosanna” from Andrew Lloyd Webber’s Jesus Christ Superstar (1970) won a 2017 Olivier Award for Best Musical Revival. The modulation is at 2:20.
Tag: 1970s
Cliff Richard | We Don’t Talk Anymore
A 1979 UK #1 (US #7) hit for British pop star Sir Cliff Richard, “We Don’t Talk Anymore” was released just before Richard won the Order of the British Empire for his service to music. The tune starts very simply, throws in some more complex progressions to get us a bit off-balance at 1:30, modulates at 1:40, then reverts to the original key at 1:49. The cycle repeats in the second verse/chorus (3:02 / 3:11 / 3:19).
Marian McPartland | Send In the Clowns
Here is Marian McPartland’s beautiful arrangement of Sondheim’s “Send In The Clowns” (1978), originally written for the 1973 musical A Little Night Music. There’s a dramatic key change at 3:13.
Elton John | Harmony
Elton John‘s smash 1973 album Goodbye Yellow Brick Road, considered by many to be the peak of his career, featured plenty of well-known tunes. “Harmony,” the humble B-side of the hit “Bennie and the Jets,” utilized Elton’s unique wall-of-sound multi-layered background vocals. It modulates back and forth between Eb minor and Eb major. Starting in minor, it modulates to major just before the first chorus (0:33), then back into minor for the next verse at 1:09, and then back to major at 1:31 through the short balance of this distinctive tune.
James Taylor | Your Smiling Face
Here’s James Taylor’s “Your Smiling Face” (1977) featuring a double modulation (0:48 and 1:25). The track reached #12 on the US pop chart and #6 on the Adult Contemporary chart. Rock critic Timothy White described the tune as a “pop sonnet.”
Paul Simon | Still Crazy After All These Years
One of Paul Simon‘s many solo hits, 1975’s “Still Crazy After All These Years” pushed the album of the same name to #1. The form is quite unpredictable: the first modulation happens at 1:25 (at the start of a bridge, including an odd-metered measure thrown into the mix). Then another pivot at 1:38 into a darkly intriguing instrumental interlude, followed by a key change into a sunnier instrumental section at 2:12, finally settling into another verse and another harmonic shift at 2:50.
Connect-the-dots songwriting, this ain’t!
Tower of Power | Just Another Day
The legendary horns of Tower of Power had hits with uptempo tunes and ballads alike — including plenty of modulations. Their 1973 release “Just Another Day” has key changes starting at 0:34, then returning to the original key at 0:57…continuing on from there.
Stephen Soundheim (feat. Marin Mazzie) | Losing My Mind (from “Follies”)
Here’s the inimitable, much-missed Marin Mazzie singing “Losing My Mind” from Sondheim’s Follies (1970). This performance is just exquisite, and the key change at about 3:00 is a highlight.
Marvin Gaye | What’s Goin’ On
Marvin Gaye’s soul/R&B classic “What’s Goin’ On” (1971) modulates at 1:38 and then back to the original key at 2:06 as it transitions into another verse. Gaye’s consistent use of 7th chords only added to the track’s rich harmonic tapestry. Rolling Stone ranked the album featuring the single #6 on its list of “The 500 Greatest Albums of All Time.” From AllMusic‘s reverent review: “What’s Going On is not only Marvin Gaye‘s masterpiece, it’s the most important and passionate record to come out of soul music, delivered by one of its finest voices .. Gaye meditated on what had happened to the American dream of the past … arguably the best soul album of all time.”
The Stylistics | Betcha By Golly Wow
In the 1970s, Philly Sound/Philly Soul was similar to Motown, yet also distinct from it — mostly due to its more adventurous harmonies. The Stylistics, one of most popular groups working in the genre, scored 12 R&B top ten hits in a row in the 70s.
This 1971 release changes key twice during the 30-second intro alone (0:14 and 0:28) — pivot modulations aided by colorful compound chords.
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