Steven Universe Future was an American animated series which aired on Cartoon Network for only a few months, wrapping up in March 2020. It revisited the longer-running series Steven Universe and a movie by the same name.
Starting with a brief a capella intro in Eb major, there’s an upward sweep to E major at 0:05; the theme remains in E major for all of its remaining 25 seconds!
Recognizing a sentiment that is invoked frequently these days, today we feature “We’re All In This Together” from High School Musical (2006). Key changes abound, with the tune modulating by whole step between verses and choruses throughout — 0:25, 0:42, 0:58, 1:36, 1:52, 2:00, 2:33, 2:50.
John Kander & Fred Ebb‘s musical Flora, The Red Menace opened on Broadway in 1965, featuring Liza Minnelli, making her debut on the Great White Way in the title role. While the score overall is not particularly memorable, “A Quiet Thing” stands out as one of Kander & Ebb’s best ballads. Performed here by the late Marin Mazzie. Key change at 1:05.
“In A Place of Miracles” is from, in your humble moderator’s opinion, Alan Menken‘s best score, The Hunchback of Notre Dame. The show, which premiered in Berlin in 1999 and became one of the city’s longest-running productions, has still not made its way to Broadway. But someday, in a place of miracles, it will. Key change at 1:37.
“My Favorite Things” is from the beloved (and last) Rodgers & Hammerstein musical The Sound of Music, which premiered on Broadway in 1959. Starring Mary Martin, the musical theatre production was followed by the classic film adaptation in 1965, starring Julie Andrews. The song passes seamlessly between E minor, and the parallel and relative major, E and G respectively, throughout the song. I hope this classic tune brings a smile to your face, a warmth to your heart, and a reminder of your favorite things.
As its final season reached its end, the music-packed TV comedy Portlandia featured the tune “Let’s Give Up” (2017). The lightweight pop feel of the track is completely out of character for the personal musical style of vocalist Carrie Brownstein, who’s spent much of the past 25 years as a vocalist and guitarist for the punk-tinged indie rock band Sleater-Kinney. But it’s 100% on-brand for the series, which saw both Brownstein and her vocalist/multi-instrumentalist co-star Fred Armisen lightheartedly hop from genre to genre throughout.
From Stereogum‘s review: “The song flips through a series of major topics, like global warming and trying to tune out the news, before taking on the numbing convenience of social media and binge-watching TV.” Portlandia’s final seasons weren’t among its best overall, but you’d never know it from this glittery, cutting satire.
Starting in F# minor (the track starts at the 0:28 mark), the kicky funk/pop tune modulates up to G# minor for the chorus at 1:02, reverting to F# minor for verse 2 at 1:19.
“Beautiful City” is from Stephen Schwartz‘s musical Godspell, which opened in 1971 Off-Broadway, moving to Broadway in 1976. This song was originally written for the 1973 movie, and has since been inserted in the show in various locations, in both uptempo and ballad styles. The track seamlessly and beautifully alternates between Gb Major in the verses and Eb Major in the chorus, before an unexpected shift to D Major right at the end. Performed here by Hunter Parrish from the 2011 Broadway revival cast; key changes are at 0:47, 1:17, 1:52, 2:22, 2:45, and 3:11.
From Schönberg and Boubil’s musical Les Misérables, “Empty Chairs at Empty Tables” (2014) is performed here by Ramin Karimloo, who has appeared in productions of the show on both the West End and Broadway in multiple roles. Key change at 2:14.
“A Little More Homework” is from Jason Robert Brown‘s 2008 Broadway musical 13. The show is notable for being the first and only Broadway musical ever with a cast and band comprised entirely of teenagers. Key changes at 2:48, 4:02, and 4:33.
Written and performed by Gladys Knight for the 1989 James Bond film Licence to Kill, this track was a top ten hit in the UK, peaking at #6 and becoming Knight’s last charting solo single there. Key change at 3:14.
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