Not a modulation per se, but an interesting reharmonization of the theme of a “make-better” TV franchise which has enjoyed two successful runs in different decades. Queer Eye For The Straight Guy, which ran in the early 2000s, featured a theme by Widelife in a major key.
The updated Queer Eye, which just finished its third season, features a theme by Betty Who which maintains some of the elements of the original — but overall takes a more minimalist approach in a minor key.
Broadway’s Waitress, by Sara Bareilles, has been running at the Brooks Atkinson since 2016. “What Baking Can Do” features the rare downward modulation, from Gb to F, at 0:52, made even more noteworthy by an ascending melody. Gb returns at 1:28, and the song returns to F at 2:58 and concludes there. Performed here by original cast member and Tony Winner Jessie Mueller.
From MotD fan Kent P., a first-time contributor:
“My Brother Lived in San Francisco” is the most heartbreaking song about AIDS I know (and I make a point to seek them out). It’s from the off-Broadway show (song cycle) Elegies for Angels, Punks and Raging Queens (1989), based on the NAMES Project Quilt.
It begins in C for two verses about specific people (real or composites?), then modulates up to C# for the third verse, into a more upbeat feel, to address the general sociological phenomenon of San Francisco as a gay mecca in the 1970s/80s, symbolizing the hope and happiness the City represented. Lastly, the tune unexpectedly makes a devastating full-tone drop to B for the unadorned reprise of the refrain, hitting us with the gut-wretching reminder of what the song is really about. Modulating down is rare enough, never mind a full step, but the emotional journey of this song hits so much harder because of it.”
Scott Alan‘s “Never Neverland” (2007), performed here by three-time Tony Award nominee vocalist Stephanie J. Block, alternates between A and F major throughout the song.
“Gee, Officer Krupke” is from Leonard Bernstein‘s seminal 1957 musical West Side Story. Eb major is tonicized in the chorus before a return to C major in the verses, and the song modulates briefly to Eb major at 3:46 for the very end.
“Take Me or Leave Me” is from Jonathan Larson’s groundbreaking 1996 musical Rent, sung here by original cast members Idina Menzel and Fredi Walker. Key change at 2:27.
“Hey There,” from the 1954 musical The Pajama Game, was subsequently recorded by several prominent artists after John Raitt performed it in the original theatrical production. Rosemary Clooney‘s version reached #1 on the Billboard chart in 1954. Written by Richard Adler and Jerry Ross, the ballad modulates at 0:42 and then reverts to the original key at 1:04.
They don’t make them like this anymore. Betty Hutton makes her MotD debut with “Murder, He Says” from the film Happy Go Lucky (1943). The tune was written by Frank Loesser and Jimmy McHugh. Key change at 2:14, but you have to experience this whole performance.
“Run, Freedom, Run” from the hit 2001 musical Urinetown by Greg Kotis and Mark Hollmann, features a key change at 1:56. Inspired to post this song this week, as I am about to open Kotis and Hollman’s new musical, Yeast Nation, at College Conservatory of Music on Thursday.
The 1980 film Xanadu featured the Electric Light Orchestra (ELO) track “I’m Alive.” While the film did poorly at the theaters and with critics, its soundtrack was a double-platinum smash hit, peaking at #4 on the end-of-year charts. The tune, which features Jeff Lynne‘s trademark stacked vocals and plenty of real strings layered in with synths, modulates at 2:03.
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