Tag: 2010s

Somebody’s Got Your Back (from “Aladdin”)

Last month the Broadway production of Aladdin celebrated its tenth anniversary on the Great White Way, with no signs of slowing down. It has played over 3,500 performances for 6 million audience members, and been one of the top 10 highest-grossing shows for nearly every week of its run. A successful national tour ran in the US, and 11 additional productions of Aladdin have opened on four continents.

“Somebody’s Got Your Back” comes near the end of Act 2 and was one of a few songs written specifically for the musical and not included in the original Disney movie. It begins in C and modulates to Db at 1:12. There are a number of brief key changes in the dance break starting at 1:35, and a return to C for the end at 2:30.

Rihanna | Only Girl (In The World)

“Only Girl (In The World” is the lead single from Barbadian singer Rihanna’s 2010 album Loud. A number one hit in the United States, Australia, Austria, New Zealand, Canada and Ireland, the track won a Grammy award for Best Dance/Electronic Recording. “Only Girl (In the World) aims squarely for dance-floor domination,” said Billboard critic Monica Herrera.

Rihanna performed the song on Saturday Night Live in 2010, and at the Super Bowl Halftime Show in 2022. The track begins in F# minor and subtly shifts up to B minor at 1:03. It returns to F# minor for the second verse at 1:49 before a final modulation to B minor at 2:18.

Chris Tomlin | Crown Him (Majesty)

“Crown Him (Majesty)” is featured on American Christian singer Chris Tomlin’s 2013 album Burning Lights. “I want people to feel it in their guts when they sing a song like “Crown Him” or “Thank You God For Saving Me” or “Whom Shall I Fear?” Tomlin said in an interview with Worship Leader magazine. “I just want that to come out of their guts. That’s what we’re trying to do in these songs and really capture the emotion and write them in a way that is singable for people.”

The track, which also features singer Kari Jobe, modulates from Db up to Eb at 4:20.

Journey To The Past (from “Anastasia”)

“Journey To The Past” closes the first act of the 2017 Broadway musical Anastasia, an adaptation of the 1997 film. The song, written by Stephen Flaherty (music) and Lynn Ahrens (lyrics), was nominated for Best Original Song at the Golden Globes and Oscars in 1998. Sung by the lead character of the show, Anya, the lyric expresses her desire to find home and belonging.

“There’s something about the way the vamp starts, that sparkly little vamp and it embodies hope and fear and those are universal emotions that every woman, everybody feels as they step into their lives and take control of their lives and know that I’m at that no turning back moment in life,” Ahrens said in an interview with Entertainment Weekly.

There are many key changes sprinkled throughout the song, and they all help build the drama and carry the story and character forward. The track, performed here by Christy Altomare, begins in C major; the modulations are listed below:

Eb: 0:24; F#: 0:48; C: 0:59; Eb: 1:11; F#: 1:36; Eb: 1:59; C: 2:15: Eb: 2:27.

Robert Schumann | Widmung

“Marked by its technical bravura, Widmung (or Dedication in English) … is much more than a mere showpiece – containing probably the most passionate music writing and most heartfelt feelings,” (Interlude). “Written by Robert Schumann in 1840 (from a set of Lieder called Myrthen, Op.25), this piece was later arranged for piano solo by Franz Liszt. Myrthen was dedicated to Clara Wieck as a wedding gift, as he finally married Clara in September, despite the opposition from Clara’s father (who was also Robert’s piano teacher).

The work starts with a flowing sense of pulse, while the first phrase (‘Du meine Seele, du mein Herz’) already captures Schumann’s love for Clara and devotion to the relationship. Here, Schumann sincerely confesses to Clara, declaring how important she is to him. For him, Clara is his angel, his spiritual support, and his entire world. Nevertheless, there is still a sense of fear and insecurity in the music, due to separation and uncertainty about their future. This complex mixture of feelings, as a true and full-bodied representation of love, certainly strengthens the emotional power of the music.”

At the 0:35 mark, Ab major shifts dramatically down to E major via a common-tone modulation. Amy Broadbent is the soprano in this 2014 performance; Christopher Koelzer is the pianist.

Jamiroquai | Two Completely Different Things

“There was a time when you could rarely set foot in a public place without being reminded of the omnipresence of UK funk-pop sensation Jamiroquai,” (abc.net.au). “The band, led by constantly behatted frontman Jay Kay, were a dominant force in the music of the late-90s and early-2000s, their blend of acid jazz, funk, disco and house a constant on radio, in nightclubs, at cafes and parties the world over.”

“… You can’t shake the feeling that pop is a giant feedback loop, in which Stevie Wonder and Curtis Mayfield begat Jamiroquai and Pharrell, and the influence of Jamiroquai must have fed, consciously or subconsciously, into the aural landscapes of both Daft Punk and Pharrell.” (HeyMusicOfficial).

The intro of 2010’s “Two Completely Different Things” alternates between D major and D minor. At 0:23, the verse shifts into F major, remaining there for the chorus. 1:06 – 1:17 brings an interlude which echoes the intro (D major and minor). The pattern continues throughout.

B.J. Thomas + Keb’ Mo’ | Most of All

“B.J. Thomas is joined by Grammy winning bluesman Keb’ Mo’ on this newly recorded acoustic version of BJ’s 1971 hit ‘Most Of All’ from the release The Living Room Sessions,” (Youtube). “A true American institution whose iconic pop, country and gospel hits defined their respective generations and now transcend them, B.J. Thomas has found a unique way to celebrate an incredible half a century in music and some 47 years since his first gold selling hit … The singer, a five time Grammy and two time Dove Award winner who has sold more than 70 million records … is ranked in Billboard‘s Top 50 most played artists over the past 50 years.” The Grammy Hall of Fame inductee passed away in 2021.

Thomas’ duet partner on this expanded 2013 version of the original solo vocal track, vocalist/guitarist Keb’ Mo’, has won five Grammy awards and 14 Blues Foundation awards during his 50-year career and has collaborated with Taj Mahal, Willie Nelson, Bonnie Raitt, The Chicks, and Lyle Lovett (KebMo.com).

Originally released on Thomas’ 1970 album of the same name, “Most of All” became a #2 hit on the US Adult Contemporary chart. After a rubato section and a pause, the updated version of the tune shifts up a half step as the breezy groove returns at 1:47.

Barbra Streisand & Blake Shelton | I’d Want It To Be You

“I’d Want It To Be You” is featured on Streisand’s 2014 album Partners, comprised of duets with various male vocalists. Streisand originally recorded the song with Willie Nelson, but it was not finished in time for the release so a version with country singer Blake Shelton was included instead (the Nelson cut was released in 2021.)

The track begins in Eb and shifts up a half step to E following the bridge at 2:50.

Brandy Clark | Daughter

“Brandy Clark is one of the names most identified with queer country music,” (CountryQueer.com). “An openly lesbian major-label country artist who sits comfortably in the top tier of Nashville’s finest songwriters, Clark has co-penned radio hits for years, like the groundbreaking ‘Follow Your Arrow’ for Kacey Musgraves, boldly asserting freedom of sexual preference. And Clark has famously channeled other marginalized characters in her own releases. Her influence within mainstream country music has rippled far beyond what’s suggested by mere name recognition.”

“Low-key and wry, Clark is a meticulous songwriter who made hits for Reba McEntire, Miranda Lambert, LeAnn Rimes and Kacey Musgraves before she put her own name on an album (NPR Tiny Desk Concerts) … But when Clark steps in front of a mic and turns on the charm, her humor pulls the audience right into every single joke … In anyone else’s hands, (‘Daughter’) might have been a bitter revenge fantasy, but Clark’s gently swooping verses and puckered choruses sketch the bemused, from-the-front-porch distance of wronged party who knows that fate is likely to do more damage to a cad than a key would ever do to his car’s glossy paint job.” Clark garnered “eleven (Grammy) nods in previous years. She was up for six trophies at the 2024 Grammy Awards (American Songwriter) … (her) impressive range as an artist landed her in three categories — Americana, country, and theater.” This week, she finally took home her first Grammy.

“Daughter,” from Clark’s 2016 release Big Day in a Small Town, makes great use of her sharp observational wit and top-drawer songcraft. The tune is built in G major overall; a transitional pre-chorus at 0:31 hides all the seams while leading us to a chorus in Bb major in 0:41. At 1:08, the next verse returns in G major and the cycle continues. There are three tunes included in this Tiny Desk concert; “Daughter” is the first, but all of them are worth a listen!