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.
The 1970s post-punk UK songwriting scene brought to light many dynamic songwriters and performers — including Elvis Costello and Dave Edmunds. The original version of “Girls Talk,” written in 1979 by Costello, clocked in at only two minutes in length, as bare-bones as could be. Edmunds’ cover version, released the same year, added plenty of new features, including a fuller sound and three modulations: the first at the end of the intro (0:11); the second for the duration of an instrumental verse (2:07); and third, returning to the main key at the end of that verse (2:22).
A classic Steely Dan track from 1974, “Any Major Dude Will Tell You” is among the shortest and most harmonically straightforward tunes in the band’s catalog. But 1:51 brings us to a modulation, then a quick return to the original key at the instrumental verse (2:03.)
One of the singles from Duke, Genesis‘ 1980 album, “Turn It On Again” features plenty of modulations — as well as mixed meters! This album marked the band’s biggest departure from its “prog” rock origins towards its later pop-friendly material — all the while never losing its infectious harmonies. Phil Collins serves yeoman’s duty on both vocals and drums.
0:48 transitions up a half step, then back to the original key at 1:03; back up at 1:17, then back to the original key at 1:26. We start the cycle again with verse two at 1:34. Plenty of pedal point on this track, with the bass note remaining static while chords change above.
Soul legend Curtis Mayfield scored a 1972 hit with “Freddie’s Dead,” originally featured in the movie Superfly. Fishbone, a California-based funk/punk/ska/soul hybrid, cranked out a frenetic 1988 cover version that takes the energy up another notch. Modulation at 2:15, then a reversion back to the original key at 2:25.
US/UK’s Pretenders, better known for guitar-driven, uptempo rock raveups, released the power ballad “I’ll Stand By You” in 1994. The tune was co-written by Pretenders frontwoman Chrissie Hynde, Tom Kelly and Billy Steinberg.
Songfacts reports on Steinberg’s memory of the songwriting experience: “I remember when we wrote it I felt two things: I felt one, we had written a hit song and I felt two, a little sheepish that we had written something a little soft, a little generic for The Pretenders … I know that Chrissie felt that way too to some extent. I don’t think she really entirely embraced it to begin with, but she certainly does now because when she plays it live, it’s one of the songs that gets the strongest response. It’s done really well for her and for us.”
The anthemic track starts in D major and features a compelling I-vi-v progression in the chorus. We’re then surprised by a rare downwards modulation to C major at 1:13, which reverts back up to the original key at 1:55.
Elton John‘s smash 1973 album Goodbye Yellow Brick Road, considered by many to be the peak of his career, featured plenty of well-known tunes. “Harmony,” the humble B-side of the hit “Bennie and the Jets,” utilized Elton’s unique wall-of-sound multi-layered background vocals. It modulates back and forth between Eb minor and Eb major. Starting in minor, it modulates to major just before the first chorus (0:33), then back into minor for the next verse at 1:09, and then back to major at 1:31 through the short balance of this distinctive tune.
San Francisco-based The Tubes started with unhinged neo-Burlesque performances in the 1970s. They morphed into a unique pop/glam/funk fusion in the 80s, never abandoning their careful balance between keyboard and guitar. In keeping with the band’s bizarre streak, its frontman/lead vocalist/co-writer, Fee Waybill, was once on the band’s roadie team!
There are several brief key-of-the-moment spots in 1981’s “Amnesia.” The bridge (2:27) starts off with a modulation, transitions to a new key at 2:46, then settles back into the original key at 3:05.
This 1967 Beatles release (a “double A side” 45 with “Strawberry Fields”) reached the top 5 across Europe, the US, and Australia. Written about Paul McCartney‘s childhood neighborhood, the tune alternates between its verses and choruses and then nearly reaches its end before final modulation at 2:34.
The Reign of Kindo, a NYC-based quintet which frequently adds lots of extra instrumentation, has been releasing music somewhere between funk, jazz fusion, and progressive rock for over a decade. Featuring a 5/4 time signature, this 2013 tune modulates four times: during an instrumental break (3:13 and 3:20) and again at 3:28 and 3:42.
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