Italian jazz pianist Enrico Pieranunzi, who has played with the likes of Chet Baker, Paul Motian, and Charlie Haden, released the trio album Play Morricone (2002) with bassist Marc Johnson and drummer Joey Baron. The album’s focus is the broad discography of composer Ennio Morricone, who has written over 400 scores for film and TV.
“Jona Che Visse Nella Balena” (Jonah Who Lived In The Whale), a solo track, modulates at 1:18, 2:36, and 4:10.
A gorgeous arrangement of “O come, O come, Emmanuel” (2012) by The Piano Guys, marking their MotD debut. Key change at 2:58.
The tonality of the “Military” Polonaise in A Major by Frédéric Chopin, composed in 1838, pivots all over the place during the many repetitions of its regal main theme. Canadian/Israeli pianist Tzvi Erez‘s version includes several more interesting points about the piece in its captions.
Ignacy Paderewski (1860 – 1941) was a Polish composer and pianist who is likely just as well known for his work as a philanthropist and brief stint as Prime Minister of Poland in 1919. The composer has a star on the Hollywood Walk of Fame. The Irving Berlin song “I Love a Piano” (1916) includes the lyric “…and with the pedal, I love to meddle/When Paderewski comes this way/I’m so delighted, when I’m invited/To hear that long-haired genius play.”
Paderewski’s Minuet in G major (Op. 14 #1, 1887) is performed here by Polish pianist Michał Szymanowski. At 1:54, the piece transitions away from its overall key of G major, then reverts to its main theme at 2:38.
Guitarist Mike Stern is described by AllMusic as “one of the finest electric guitarists of his generation, well-versed in the jazz tradition fusion, hard rock, and blues. His style combines phrasing normally attributed to saxophonists, innovative chord voicings pioneered by Jim Hall, and the sonic approach of a rock musician and the soulful, emotive expression of a bluesman.”
On 2001’s “Slow Change,” the A section (0:48) is in E minor; the B section jumps to G minor (1:41); we’re back to the A section at 2:16. The two sections continue to alternate throughout.
The “Humoresque No. 7” (Op. 101, 1894) by Antonín Dvořák was originally written as part of a cycle for solo piano. It was composed during a multi-year US visit by Dvorak during which the Czech composer also wrote his iconic “New World” Symphony.
Performed here by the legendary duo of violinist Itzhak Perlman and cellist Yo-Yo Ma, accompanied by the Boston Symphony Orchestra under the baton of Seiji Ozawa, the piece begins in Gb major, transitions to Gb minor at 1:35, and back to major again at 2:27.
First recorded in 1956 by vocalist Johnny Mathis and bandleader Roy Conniff, “When Sunny Gets Blue” quickly became a jazz standard. This version was performed by piano legend McCoy Tyner and his trio in 1962, after his stint as sideman for John Coltrane. Tyner, a 4-time Grammy winner, was named a National Endowment for the Arts Jazz Master in 2002; after 80 albums, he still continues to record.
The 32-bar form modulates at the start of the middle 8 (heard for the first time at 1:04), modulates halfway through the middle 8 at 1:20, then back to the original key at 1:36. The form starts again at 2:07, as we hear a solo from Tyner.
Here’s a later performance by of Franz Peter Schubert‘s “Moment Musical #3 in F Minor” by legendary pianist Vladimir Horowitz. Limelight Magazine called Horowitz “a Russian-born pianist who left for the West at age 21, where he was described as a ‘tornado unleashed from the steppes’…Most famous for his performances of Romantic piano repertoire…”
There are several passing keys of the moment in the piece, but the main transition into F major is at 1:50.
It’s difficult to categorize contemporary guitar/guitar synth pioneer Pat Metheny‘s “Are You Going With Me?” (1989). But the key changes are far less ambiguous.
The tune’s intensity grows little by little, driven by the Metheny Group’s trademark wordless vocals and Lyle Mays‘ fluid keyboard lines. The performance was likely heightened by the huge scale of the live setting, Festival International de Jazz de Montréal. The first modulation hits at 3:44; the second key change “telegraphs” melodically by hinting at the shift slightly before its arrival at 5:20.
The Piano Sonata #16 (1788) is among the most familiar pieces from Wolfgang Amadeus Mozart‘s works. The piece was described by Mozart himself as having been written “for beginners” and it is sometimes known by the nickname “sonata facile.” The piece is well-known today but was not published during the composer’s lifetime, first appearing in print in 1805.
Starting in C major, the first movement (Allegro) transitions to G major by 0:22 and back to C at 0:47. At 1:32, the movement cycles through a few minor keys as well.
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