With that in mind here are some of my favorite, often very clever, modulations:
Whitney Houston - I Will Always Love You
I start with this one because it is an example of a cliché done right. (3:05) Some modulations work well because they connect the original key to the new one without interrupting the flow of the song. Some work well because they surprise you. This is a case of the latter. I believe it wouldn't have worked nearly as well if there had been a chorus in the original key, then a modulation. Instead, they go right to it, but also create space to lure you in. Space in music is underrated. If you really want to knock people on the ground with a whole-step modulation, give them a few soft seconds of wondering what's coming.
Sting - If I Ever Lose My Faith In You
I always thought this one was particularly clever problem solving on Sting's part. He wanted to modulate the chorus at the end of this song, but the whole song is already ridiculously high in the key of E, even for a vocalist like Sting. So what does he do? He modulates the song DOWN a fourth to B with these two additional measures (3:15):
He does a chorus in B then brings it back up to E, making it sound like he's modulating up to something new. Brilliant!
Bonnie Tyler - Total Eclipse of the Heart
This is more of a key change, as it doesn't really modulate existing material but rather introduces new material in a new key. The verse itself goes through a couple keys, starting in Bb minor and working its way to E but the big moment, and part of what makes this song so epic, is the shift from E to Ab at the phrase "fall a-PART!" The G# in the key of E becomes the tonic Ab in the new key. It's unexpected and dramatic, and moving up a major third is pretty unusual, so big props to this one for originality.
Dusty Springfield - Son of a Preacher Man
This is the musical equivalent of hustling. She does the whole beginning of the song in A, then explodes out of the bridge at 1:43 in E, a full fourth higher.
Whitney Houston - How Will I Know
I'm just going to say it: women have better modulations than the men, at least on my list. I come back to Whitney to give a little shout out to this song. My first thought was to write about I Have Nothing, but I covered that one extensively in an earlier post.
The modulation in How Will I Know might be more interesting; despite sounding and feeling like an upward modulation, the song actually moves DOWN from Gb to Eb (at 3:30). It's magical. For a similar kind of thing, check out Roberta Flack's Set the Night to Music, which moves from F in the verse down to E in the chorus.
Celine Dion - All By Myself
I'm sure I've said this before, but I think Celine Dion has some of the best producers in the business. Her cover of Eric Carmen's power ballad almost merits its own post. The original is epic, but this cover takes it over the top. The modulation at 2:42 might be my all-time favorite. What happens here?
In the key of A she sings her way up to the flatted six, a high F. This note is a bit unusual, but she holds it, holds it, holds it, big drum fill and BOOM the band comes roaring back in Db, a major third higher. She's now siting on the 3rd of the key. Bold move, huge payoff.
A fun side note about this song: I once played in a circus band, and there was a ribbon aerialist who did her routine to the track of this song. She would climb to the top of the ribbons at this part of the song then fall (to gasps in the audience) only to catch the ribbons just as the band came back in. It gave me goosebumps every time.
Michael Jackson - Man in the Mirror
I'll end with the masters - MJ and Q - for another example of a cliché modulation done right. At 2:50 they pull out the carpet for a moment then explode back in with a gospel choir up a half-step, completely unprepared. A good modulation can make you want to stand up and cheer. Shock and awe, this is how it's done.
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