Us3, a hiphop group with members from both the US and UK, is probably best known for the sample-heavy 90s hit “Cantaloop/Flip Fantasia.”
Like most of Us3’s output, “The Love of My Life” (2009) draws heavily on dense jazz-infused textures and chord progressions. But the sound is also driven by Hiphop grooves and lyrical traditions. The tune modulates up two whole steps at 0:38, pivoting between these two keys throughout: 0:56, 2:30, and 2:49.
Al Jarreau, the only vocalist in history to win Grammy Awards in three different categories (jazz, pop, and R&B), released his top-10 album Breakin’ Away in 1981, at perhaps the peak of his career. A standout track from the album was the feel-good tune “Mornin’,” featuring plenty of modulations in the bridge (1:55 – 2:49). Then we land back in the orignal key with an instrumental verse at the bridge’s conclusion. 3:32 features a classic direct modulation into the final verse.
Like much contemporary Brazilian jazz, Sergio Mendes‘s “Pipoca,” composed by Hermeto Pascoal, is loaded with modulations. This 1992 track starts off with a tumbling, mischievous feel, throwing us its first modulation at only 0:16 (!) after a playful ascending chromatic run.
The intro sets the scene for key changes which continue to to turn on a dime as they arrive frequently throughout the track.
Hiphop isn’t usually the first genre that comes to mind when considering modulations. But Us3, a group featuring UK-based musicians and best known for the 90s hit “Cantaloop/Flip Fantasia,” manages quite a few key changes — built around samples drawn from unprecedented access to the entire Blue Note Records jazz catalog.
“The Day That I Died” (2007) is characteristic of Us3’s eclectic lyrics, which put storytelling front and center. Modulations at 1:28, 1:47, 2:46, 3:07, 3:25, 3:44, 4:44, and 5:03.
A beautiful jazz waltz featuring the vibraphone of rising star Stefon Harris. This 2007 tune was originally written by Sting for the Kate & Leopold soundtrack. Modulation at 1:29.
Harris has said, according to All About Jazz: “For me, as an African-American, it’s part of the reason I get up. Jazz is not just fun for me. This is my cultural heritage. When I look at the great Miles Davis, Duke Ellington, Louis Armstrong, John Coltrane, as we go down the line, I feel a great deal of pressure, and honor, to be striving to be a part of this legacy.”
Guest post from MOTD member Alex Mosher:
A cover of Luis Fonsi’s “Despacito” (2017) with a modulation around 2:40. The original might have six billion views, but this cover adds something very new.
From Jonny May’s website: “Teaching piano is one of my greatest joys, and over the past 15 years, I’ve helped over ten thousand students take their piano playing to the next level.” He performed as a Main Street Disneyland pianist for over nine years and has over 30 million hits people with his Youtube videos.
The 1972 Brazilian jazz classic “Aguas de Marco” (Waters of March) performed in Portuguese by Brazilian music legends Elis Regina and Tom Jobim (aka Antonio Carlos Jobim). The bridge arrives, bringing something very new along with it, at 1:48!
After becoming Exhibit A for chart-topping synth-pop blockbusters in the early 80s, Duran Duran scored an uncharacteristically understated hit in 1993 with the ballad “Ordinary World.”
Boston-based pianist/bandleader/educator Mark Shilansky and his band Fugue Mill have thoroughly re-harmonized and restructured the tune with their 2014 cover, stacking verse after verse.
Finally, the single extended chorus arrives (at 3:33) with cascading modulations nowhere to be heard in the original.
Today we feature Michael Buble’s cover of “Feeling Good” (2005), originally from 1965’s The Roar of the Greasepaint, The Smell of the Crowd and later made more famous by Nina Simone’s essential version. Since then, the tune has been covered by many prominent artists. The two modulations occur around 2:17 and 2:42. Many thanks to Gus Connelly for this track!
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