Tag: pop

Seals + Crofts | Summer Breeze

Seals and Crofts‘ 1972 release “Summer Breeze” features an aural illusion — an apparent modulation where one doesn’t actually exist. The bridge (2:06 to 2:20) is built exclusively on compound/hybrid chords and a soaring vocal line that is unquestionably the high point of the tune. As we arrive back at the final verse at 2:20, it feels as if the tune modulated — all the cues are there. But we are still in the original key of E minor!

Rick Springfield | Jessie’s Girl

During the summer of 1981, Rick Springfield‘s power pop hit “Jessie’s Girl” completed its climb up the charts, finally hitting #1 in August — six months after its release and just as MTV hit the airwaves. Song of the summer? An understatement.

The bridge, starting at 1:39, transitions with a direct modulation to an instrumental section at 2:00, changing back to the original key at 2:14.

Thomas Dolby | Cruel

Thomas Dolby is best known for his early-80s New Wave megahit “She Blinded Me with Science.” The UK artist’s 1992 release Astronauts & Heretics featured “Cruel,” a track built around some very mysterious harmonies and Matthew Seligman‘s enigmatic fretless bass.

The main melodic fragment is stated with the first verse, by 0:06 (“Cruel … what a thing to do…”). Later, a beautifully syncopated contrasting passage by guest vocalist Eddi Reader, essentially a chorus, starts at 0:31. By 1:04, we’re at the second verse, but one-half step lower than the first. Eddi’s section, as it repeats (1:35), is also a half-step lower this time. The tune ends on a sustained Dmin7, a full step below where it began. Throughout, the largely stepwise melodies rest on a bed of off-kilter progressions and unusual inversions. It’s as if the modulations were written so that they wouldn’t stand out.

Any theory wonks care to chart this one out?

UPDATE, 6/14/21:

Dolby responded today to a post I made awhile back on a thread about this tune, featured on a Facebook group which he and his staff run. Fascinating!

Paula Cole feat. Peter Gabriel | Hush, Hush, Hush

“Hush, Hush, Hush,” a supporting track on Paula Cole‘s breakout 1996 album This Fire (the single was something about cowboys), guest features the singer/songwriter’s mentor, Peter Gabriel as well as some gorgeous and unusual instrumental features. Starting in a minor key, a transition to a major-key bridge starts at 2:01; at 2:33, we return to the original key. An unexpected 4-chord repeating harmonic progression loops from 2:50 to the end.

Nik Kershaw | Radio Musicola

Nik Kershaw‘s classic 1986 New Wave release, Radio Musicola, was full of the UK singer’s moody, richly textured sound; the title track was no exception.

A textbook half-step ascending direct modulation at 2:03; a bridge (2:21 – 2:40) ending with a downward half-step modulation to the original key; and another modulation back to the second key at 3:06.

Jonah Nilsson | Coffee Break

Here’s a single by Jonah Nilsson, vocalist and keyboardist for powerhouse Swedish funk/pop band Dirty Loops, “Coffee Break.” Starting out with a minimalist rap, Nilsson rapidly shifts to singing supple yet rhythmically precise lines over his trademark wall-to-wall harmonic textures.

Key shifts hit at 0:53, 2:02, 2:10, 2:17, and 2:41, plus a few other quick keys-of-the-moment.

Michael Jackson | Rock With You

From MotD member Rob Penttinen, who happened across this modulation while casually listening to the radio as he did housework(!)

The hit Michael Jackson 1979 release Off the Wall, featuring the smash hit single “Rock With You,” was produced by the legendary Quincy Jones. The 4-on-the floor groove was the sound of the clearly waning phase of Disco. Key change at 2:32.