Regular MotD scout JB contributes “Sweet Sky” by singer / songwriter Laura Nyro (1978):
“Usually there’s some kind of foreshadowing or build-up before a modulation, with the key change acting as a kind of catharsis or accelerant. But the key change at 2:15 in this song is like falling through an unexpected trap door.”
Returning to Jacob Collier today, this is hands down the most beautiful rendition of “Hallelujah” (2018) I have ever heard. The voicings, the reharm, the rhythmic profile, and, yes, a modulation from C major to B major. I’m not going to tell you where it is because you have to listen to the whole thing, and you can see it in the music from this video. Enjoy!
I have been meaning to introduce the MotD audience to Jacob Collier‘s music for awhile, so here is one of his songs, “Once You” (2018). Collier is truly one of the most incredible musicians and thinkers I have ever come across, and I highly encourage you to check out his other stuff on YouTube. It will blow your mind. A big shout-out also to June Lee, who does painstaking transcriptions of many of Collier’s songs, giving us the opportunity to follow along. There are too many key changes in this tune to list, so I will just leave you to listen. Enjoy!
Singer/songwriter/pianist Rufus Wainwright, a dual American/Canadian national (the son of American folk artist Loudon Wainwright III and Canadian folk artist Kate McGarrigle), is known for his cutting societal commentary. His 2018 release “The Sword of Damocles” is no exception.
At 3:14, a bridge of sorts sends the tune into a series of keys-of-the-moment; at 3:26, there’s a full-blown modulation.
Here’s Barbra Streisand’s 2018 version of Burt Bacharach’s classic 1965 tune “What The World Needs Now” with a special guest appearance from Michael McDonald! Key change at 2:49.
A decade after he co-founded Steely Dan, vocalist / keyboardist / composer Donald Fagen released 1982’s The Nightfly, an album which featured a distinctively Cold War/1950s vibe and was reportedly inspired by Fagen’s childhood habit of late night jazz radio listening. Not surprisingly given Fagen’s trademark harmonic complexity, “Ruby Baby” modulates at 2:57, but the close harmonies of the backing vocals are so complexly layered that the key change seems almost routine in comparison.
Here’s Jason Robert Brown‘s “One More Thing Than I Can Handle” from his new album How We React and How We Recover (2018).There are many key changes throughout which I won’t list here, but I highly encourage you to check out this whole remarkable album.
Another new artist for MotD today — Lara Fabian. Two key changes in this 1999 tune — from G minor to Ab minor at 2:18, and then to C minor at 3:10, with a high quality music video to entertain you along the way. Enjoy!
The tune is based on a composition originally thought to be by Venetian composer Tomaso Albinoni, Adagio in G minor for violin, strings, and organ continuo. The neo-Baroque composition was actually written in the 1950s by 20th century musicologist and Albinoni biographer Remo Giazotto, purportedly based on the discovery of a manuscript fragment by Albinoni.
What better way to start off the week than with some Babs? This 2016 release features a stunning vocal throughout, and such a great song. Modulation at 3:25. Enjoy!
Bocelli’s “Because We Belive” has a textbook example of a “common tone” modulation: a single note is sustained through key change, thus transforming its harmonic function. And the second, at 4:20, is the rare downward modulation, moving from E to D. David Foster is at the keys (he co-wrote the song with his daughter Amy for the 2006 Turin Olympics).
modulationoftheday.home.blog 