Frank Wildhorn’s musical Wonderland, based on the Lewis Carroll story Alice’s Adventures in Wonderland, played on Broadway for a month in 2011, plagued by a poor and confusing script. In his review of the production for The New York Times, critic Charles Isherwood called the score a “competent rendering of various pop styles.” This song, sung by the White Knight, comes early in Act 1 and modulates from F# major to A at 2:56.
Tag: soundtrack
Hometown Hero’s Ticker Tape Parade (from “Dogfight”)
Benj Pasek and Justin Paul’s musical Dogfight is based on the 1991 film of the same name, and tells the story of a group of young men in the 1960s preparing to deploy to Vietnam. The musical premiered Off Broadway in 2012 and received an Outer Critics Circle nomination for Best Score. This song, the opening number of Act 2, starts in F major and wanders briefly through F# and G coming out of the bridge at 2:24 before ultimately landing in Ab at 2:34.
Lesley Gore | Sunshine, Lollipops, and Rainbows
Lesley Gore is best known for the adolescent assertion of independence “It’s My Party” (Billboard #1 in 1963), produced by Quincy Jones, and recorded when she was 16. That song appeared on the album I’ll Cry If I Want To. She recorded her second album in 1963, Lesley Gore Sings of Mixed-Up Hearts, which contained another, more grown-up hit, “You Don’t Own Me,” previously featured on MotD.
That same album featured “Sunshine, Lollipops, and Rainbows”, written by Marvin Hamlisch, who had yet to achieve the fame that awaited him. It wasn’t until 1965 that the song was released as a single, to accompany its appearance in the movie Ski Party, a trashy beach movie set on the ski slopes — but which still included a beach, somehow. Besides Lesley Gore, there were musical contributions from James Brown and surf band The Hondells. The stars were noted thespians Frankie Avalon, Dwayne Hickman, and Deborah Walley.
“Sunshine …” was a favorite of radio DJs at the time of its release, because its running time of just over 90 seconds made it perfect to fill short programming gaps. But there’s no debating its merits — it’s a short, fun blast! There’s a half-step modulation at 0:46.
Stephen Sondheim | Being Alive (from “Company”), feat. Rosalie Craig
“Being Alive” is the final number in the 1970 musical Company, featuring a score by the late Stephen Sondheim. Comprised of a series of vignettes about marriage, Company ushered in the era of the “concept musical,” where the focus is on a theme rather than a narrative-driven plot. Bobby, the central character of the show, is celebrating his 35th birthday, and has invited his married friends over for a party. Over the course of the show, they describe the costs and benefits of being married, and this song represents his response.
The original production was nominated for 14 Tony Awards and won 6. In 2018, a major revival was mounted in London, featuring a female Bobbie as well as a same-sex couple for the first time. Sondheim gave his blessing to the changes. “My feeling about the theater is the thing that makes it different from movies and television is that you can do it in different ways from generation to generation,” he said in an interview. “Company has a different flavor than it had before feminism really got a foothold…What keeps theater alive is the chance always to do it differently, with not only fresh casts, but fresh viewpoints.”
The production transferred to Broadway and was originally scheduled to open on Sondheim’s 90th birthday in March 2020, but was delayed due to the pandemic. Sondheim was able to see the show in New York a few days before his death last November, and the cast, musicians and crew subsequently dedicated the entire run to his memory. Company is nominated for Best Revival at the upcoming Tony Awards.
The song begins in A and subtly shifts up a half step to Bb halfway through at 2:29.
Jack Antonoff, MØ | Never Fall In Love (from “Love, Simon”)
“Never Fall In Love” is featured in the 2018 coming-out film Love, Simon. Written and performed by Jack Antonoff, who also produced the soundtrack, the synth-driven song features Danish singer MØ. Beginning in D, a modulation to E occurs at 2:55.
Makin’ It | David Naughton
The 1979 disco tune “Makin’ It” is the only song actor/singer David Naughton ever released. Naughton’s career has been about acting, with music serving only as a sideline: “David Naughton made his professional debut in the New York Shakespeare Festival’s production of Hamlet in Lincoln Center … he was cast as the lead singer/dancer in the ‘Be a Pepper’ advertising campaign for Dr. Pepper,” (IMDB). His film credits include An American Werewolf in London, Midnight Madness, and the American ski comedy Hot Dog. On TV, he was seen in 1986’s My Sister Sam.
Written by Freddie Perren and Dino Fekaris (who also penned the #1 hit “I Will Survive”), “Makin’ It” was theme song for the 1979 sitcom of the same name, in which Naughton starred, and has been used in other shows and commercials in the decades since. There is a modulation from C to D at 1:33.
Thanks to MotD regular Rob Penttinen for this submission!
Judy Garland feat. Tommy Dorsey Orchestra and Mickey Rooney | I’ve Got Rhythm (from “Girl Crazy”)
Tap cowboy boots? Yep, we’ve got those. The ninth of ten movies co-starring the iconic pairing of Judy Garland and Mickey Rooney, 1943’s Girl Crazy ends with “I’ve Got Rhythm” staged as a gargantuan Busby Berkeley production number –the very definition of the “Golden Age movie musical.”
From Film Frenzy‘s review: ” … another Rooney-Garland confection where not much of interest happens when everyone isn’t singing or dancing. The Gershwin score is tops, though.” HighDefDigest describes the title as “the best film pairing of Mickey Rooney and Judy Garland … Girl Crazy not only showcases the dynamite talents of two enduring dynamos, it also features a first-class score by George and Ira Gershwin that includes such standards as ‘I Got Rhythm,’ ‘Embraceable You,’ and ‘But Not for Me,’ a bubbly cast, and a lavish rodeo finale staged by Busby Berkeley.” Meanwhile, Tommy Dorsey leads his orchestra while playing some top-drawer trombone.
After the intro, the tune begins in earnest at 0:58 in Eb, shifts to F at 1:34, and lands in D at 1:42 — for starters. Thereafter, key changes continue to parade by throughout.
Reba McEntire | Somehow You Do
“Somehow You Do,” from the 2021 film Four Good Days, was nominated for Best Original song at the 2022 Academy Awards and performed at the ceremony (and in the film) by country star Reba McEntire. It marks the fifth consecutive best song nomination for composer Diane Warren and her 13th overall — she has yet to win.
McEntire’s performance was introduced by Mila Kunis, who stars in the film as a young woman recovering from heroin addiction. “[The song is a] story of hope, perseverance and survival that celebrates the strength of the human spirit,” Kunis, who was born in Ukraine, said. “Recent global events have left many of us feeling gutted. Yet when you witness the strength of those facing such devastation, it’s impossible not to be moved by their resilience. One cannot help but be in awe of those who find strength to keep fighting through unimaginable darkness.”
Starting in C, the song dramatically modulates up a half step to Db at 1:56.
Steal With Style (from “The Robber Bridegroom”)
“Steal With Style” is from the 1975 Broadway musical The Robber Bridegroom, adapted by Alfred Uhry (book & lyrics) and Robert Waldman (music) from a 1942 novella by Eudora Welty. The score is one of only a handful in Broadway history to be bluegrass-inspired — the band consists of a guitar, fiddle, mandolin, banjo, and harp. The show was revived Off-Broadway in 2016 starring Steven Pasquale, featured here, and is regularly performed at regional theaters.
The song alternates between E major and E minor throughout before ultimately modulating to G major at 2:25 for the final chorus.
Ariana Grande & Kid Cudi | Just Look Up (from “Don’t Look Up”)
“Just Look Up” is an original single written and performed by Ariana Grande and Kid Cudi for the Oscar-nominated 2021 movie Don’t Look Up. The songwriters and other members of the film’s creative team, including director Adam McKay and Nicholas Brittell, who is also nominated for his score, discussed the song a behind-the-scenes video.
The tune starts out in A and shifts up to Bb major in a standard direct modulation at 2:42.
modulationoftheday.home.blog 