We conclude our week-long series on Legally Blonde with “So Much Better,” the Act 1 finale. After breaking up with Elle, Warner proposes to his new girlfriend Vivienne right in front of Elle, leaving her devastated. Immediately after, however, Professor Callahan posts the list of who has been selected for his highly coveted internship positions, and Elle makes the cut. She realizes that life is about more than just one guy, and she has more potential than she previously knew. Key changes at 0:38, 0:51, 1:03, 1:29, 1:41, 2:04, 2:28, 2:37, and 2:50.
Tag: series
Legally Blonde (from “Legally Blonde”)
The fourth installment in our week-long series on Legally Blonde:
The title song from the musical comes in Act 2. After Elle makes a discovery in the courtroom that is crucial to helping Callahan’s case defending Brook Windham, he asks the rest of his defense team to leave and forcibly kisses Elle; she responds by slapping him, and Callahan fires her from the case. Elle starts to question if Callahan ever really respected her for her intellect and whether she should stay at Harvard. Key changes at 0:49, 1:06, 1:23, 2:07, 2:23, and 2:42.
Whipped Into Shape (from “Legally Blonde”)
“Whipped Into Shape,” the third installment of our Legally Blonde series, opens Act 2 of the show and introduces us to Brooke Windham, a fitness instructor who has been accused of murder and is being defended by Elle’s tutor Professor Callahan. Key changes at 2:34, 3:06, 3:13, 3:21, 3:29, 3:37, and 3:54.
Ireland (from “Legally Blonde”)
The second in our Legally Blonde series this week:
“Ireland” introduces us to the hairdresser Paulette, who comforts Elle after Warner unexpectedly breaks up with her. Over the course of the song, Paulette narrates her own complicated romantic history, accompanied by her beloved Irish “Celtic Moods” CD. Key changes at 0:22, 1:15, 1:30, 2:05, and 2:23.
Omigod You Guys (from “Legally Blonde”)
The first of our week-long series of tunes from Legally Blonde:
The opening song in the show, “Omigod You Guys” introduces us to Elle Woods and her fellow Delta Nu’s, who are helping Elle pick out a dress for her planned proposal to Warner Huntington III later that night. Key changes at 0:47, 1:14, 1:31, 1:54, 2:23, 3:04, 3:16, 3:36, 3:49, 4:28, 4:45, 4:51, 5:05, and 5:19.
Special Series | Legally Blonde
Here at MotD, we take pride in featuring music from all genres, in the hopes of appealing to the tastes of all our fans while also introducing most to something new. And while key changes play a vital part in every style of song, from a Doobie Brothers hit to a Chopin ballad, perhaps nowhere is their dramatic effect as pronounced as in the musical theatre repertoire. Within the musical theatre canon, I think it is fair to say that no show boasts more key changes than Legally Blonde. So this week, in honor of the 20th anniversary of the release of the Legally Blonde film, we are featuring five songs from Laurence O’Keefe and Nell Benjamin’s score for the Broadway musical.
As the week progresses, I encourage you to think about how the modulations contribute to and enhance the arc of each song. At first glance, it can appear that having so many key changes is somewhat gratuitous; I would argue that each one has a purpose in communicating the story, and together, they define the sound of the show.
Hope you enjoy this five-part series. Off to Harvard University!
Henry Lewers
Founder, Modulation of the Day
The Beach Boys | Fun, Fun, Fun
Wrapping up Beach Boys week is “Fun, Fun, Fun,” a 1964 single by The Beach Boys which features a guitar riff during the opening inspired by Chuck Berry’s iconic “Johnny B. Goode”. The track hit #5 in the US, #5 in Australia, and #8 in New Zealand.
The tune modulates at 1:51. Many thanks to frequent contributor JB for this submission and so many others!
The Beach Boys | Be True to Your School
Continuing with Beach Boys week: “Be True to Your School,” by Brian Wilson and Mike Love of The Beach Boys, was released in 1963. The melody of the University of Wisconsin fight song, “On, Wisconsin,” can be heard on the track. There was also single version, which was released with “In My Room”. The tune peaked at #6 on the Billboard charts, but also #3 in New Zealand, #6 in Sweden, and #10 Australia. However, the single performed best back home in Los Angeles: three weeks at #1, according to airplay on KFWB.
The key change is at 1:54, interspersed with cheerleader chants. Many thanks to Rob Penttinen for this submission!
The Beach Boys | Don’t Worry Baby
#3 of 5 of our Beach Boys Week posts: 1964’s “Don’t Worry Baby” was the B-side of one of The Beach Boys’ all-time biggest hits, “I Get Around.” It’s part of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll list, ranked #178 on The 500 Rolling Stone Magazine greatest songs, and #14 on Pitchfork‘s “200 Greatest Songs of the 1960s”.
Starting in E major, there’s a transition to F# major at the start of the chorus (0:41), then a return to E major at the start of the next verse (0:58); the other verses follow suit. Continued thanks to our guest contributor JB for this week’s tunes!
The Beach Boys | That’s Not Me
Continuing with Beach Boys week: AllMusic refers to The Beach Boys‘ “That’s Not Me” as “the closest thing to a conventional rocker” on the experimental Pet Sounds album (1966). According to Jim DeRogatis, author of “Turn on Your Mind,” it’s a work “influenced by psychedelic drugs that inspired Brian Wilson to turn his attention inward and probe his deep-seated self-doubts.”
Starting in A major, the tune has multiple modulations, starting at 0:34. Plenty of compound chords and inversions add to the overall harmonic richness. Thanks again to frequent contributor JB for submitting this tune!
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