This epic modulation stared me in the face for decades before being noticed. Queen’s “We Are the Champions” (1977) features verses which start in C minor, shifts into Eb major for the pre-chorus (first at 0:23), then transitions to F major for the choruses (first at 0:39). Commenting on the tune (among Queen‘s most successful singles of all time), the band’s guitarist Brian May said “We wanted to get the crowds waving and singing. It’s very unifying and positive.”
Tag: rock
Elvis Costello | Accidents Will Happen
Elvis Costello‘s 1979 release, “Accidents Will Happen,” modulates back and forth between D major on the verses and D minor on the choruses; the first of these shifts hits at 0:19. Starting at 2:10, the outro of this compact tune accelerates the pattern by shifting between the two keys every two measures!
Fountains of Wayne | Stacy’s Mom
“Stacy’s Mom,” a 2003 power pop classic by Fountains Of Wayne, written by Adam Schlesinger, was nominated for a Grammy for Best Pop Vocal Performance. The New Yorker magazine’s Ben Greenman called it the “second-catchiest song ever written about a girlfriend’s parent” (after Simon and Garfunkel’s “Mrs. Robinson.”) The initial key of E Major shifts to G major at the bridge (2:25).
Don Henley | Sunset Grill
1984 saw the release of “Sunset Grill,” a top-10 hit from vocalist / drummer / singwriter Don Henley (best known for his work with The Eagles.) The horn section and Pino Palladino‘s fretless bass lines are standouts on this track, which was written in honor of an actual Los Angeles burger joint — still in business on the legendary Sunset Boulevard despite several ownership turnovers through the years. The direct whole-step modulation is at 4:03.
John Powhida International Airport | Dirty Birdy and the Funny Bunny
We generally post videos on MoTD, but here‘s a worthy audio-only link! A track by Boston Music Awards multi-nominee John Powhida and his self-described “rock / disco / soul / pop fuzion” band John Powhida International Airport, “Dirty Birdy and the Funny Bunny” (2011) modulates at 2:20.
https://johnpowhidainternationalairport.bandcamp.com/track/dirty-birdy-and-the-funny-bunny
Atlanta Rhythm Section | Spooky
Today’s featured tune is “Spooky,” a 1979 release by the Atlanta Rhythm Section – Band, a southern rock band which enjoyed a string of hits. A cover of a 1967 original by The Classics IV, ARS’s version adds a direct modulation early on (1:29) and continues from there. The two versions went to #17 and #3, respectively.
Queen | The Show Must Go On
Released only six weeks before Freddy Mercury‘s passing at the end of a brief battle with HIV/AIDS, “The Show Must Go On” (1991) reminded Queen fans worldwide of this global supergroup’s originality and vision. Mercury’s vocal timbre was changed by the disease, but he still pulled off a beautiful performance. Modulations at 1:32, 2:13 and 2:55.
Cheap Trick | Surrender
Rolling Stone magazine called it “the ultimate 70s teen anthem” and ranked it #471 of its “500 Best Songs of All Time.” One of the most well-known bands on the 1970s global rock circuit, Cheap Trick released “Surrender” in 1978 and then re-released it on their live album Live at Budokan. The intro’s key is raised a half-step at the start of the first verse (0:14), then another half-step upward modulation at 2:16.
The Cars | Bye Bye Love
“Bye Bye Love,” a 1978 Rock-meets-New Wave hit from The Cars‘ eponymous debut album, features a section built around E major at the start, transitioning to a D major pattern during the gentler pre-chorus (0:48), and then back to E Major (0:59) for the chorus; the cycle then repeats.
Bassist Benjamin Orr on lead vocals and the unmistakably distinctive style of Greg Hawkes on keyboards, covering many of the band’s famously catchy hooks.
Stone Temple Pilots | Sour Girl
Stone Temple Pilots, fronted by the late Scott Weiland, released “Sour Girl” in 1999. The intro (through 0:19) emphasizes G major as a key area, although it also features a flat 7th. The verse (0:19 – 0:56) flips quickly back and forth from D major to D minor (an F# is featured on the melody line on the word “sour ” — coupled with the restless bassline, often suggesting D minor as it shifts as often as every eighth note — adds to the ambiguity).
A far more detailed and scholarly analysis of the tune can be found on the Aaron Krerowicz site.
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