Oh, also, “Lucy in the Sky with Diamonds.”
Thought of a third one while walking the dog: “Things We Said Today” (one of my favorite Beatles tunes), goes from Am to A major in the bridge. There’s a few Beatles songs, IIRC, that do this. ETA: Oh, and, duh, “Penny Lane”'s got the “Truck Driver Gear Change” at the end, as described in this thread.
Actually, come to think of it (sorry for another post), “Penny Lane” has different keys for the verses and the chorus. The verse is in B major. The chorus is in A major.
Modulation ≠ key change.
This thread is about classic modulation; i.e., repeating a verse or chorus that has been played/sung before but moving up a half-step or full step from the key the previous one was in. Doing a different part of the song in a different key, or going minor to major from verse to bridge, is not what modulation is about.
Of your examples, only “Penny Lane” counts for the rise from A to B in the final two choruses.
Two more to get!
It sounds a little trite to me if the love song upward modulation is just a simple half or whole stepping up (as in Led Zeppelin’s “All My Love”), but rather more clever if there’s a complex series of chords in a bridge or a solo that end up smoothly transporting you up a half or whole step (as in Ricky Martin’s “Volverás”).
That’s not the definition I’m familiar with, personally. Technically, modulation is the process of changing keys. (For example, here’s a standard definition). An abrupt key change (like at the end of Penny Lane) is just a key change with something called “direct modulation.” “Something” employs a technique called a “pivot” modulation to set up the C->A change. So I assume you’re simply asking for key changes that preserve the basic chord structure of the song, but are up or down some keys?
And the type of modulation in “Things We Said Today” is a “parallel modulation,” in case you’re interested. “Direct modulation” is the one that most closely corresponds to what people simply call a “key change,” but it seems that’s what you’re asking for.
ETA: I actually just found a pretty reasonable music guide to modulation in the Beatles music here.
And the above resource lists 12 examples that fall under the “gear box” modulation, which is what I think you’re looking for. See if your four songs are listed there.
Without clicking that link, I recall that “Good Day Sunshine” modulates up a key just before the fadeout. Paul again.
After reading the list in that link (it’s several pages after the linked page), I’m pretty sure “Sgt. Pepper (Reprise)” is the one and only lonely song that entirely fits the bill. The upward shift is accomplished with only one intervening pivot chord – I think that counts.
I Am The Walrus has a crazy harmonically ascending fade out.
Well, yes, because that was what the OP talked about in his first post.
Yes, technically “modulation” can be applied to all sorts of key changes, but the focus here is on what you state in your final sentence. The OP talked a lot about sliding capos up, so I thought it was clear that’s where the focus was for the purposes of this thread. And that’s also what I based my trivia question on.
Of the 12 songs listed at that link, only five are part of the official Beatles’ studio canon. The others are BBC recordings or Beatles solo works.
Two were ones I hadn’t considered. The solo in “Octopus’s Garden” sort of follows the verse chords, but the leap is from E to A, so not the kind of half-step or whole-step rise the OP spoke of.
The chorus of “The Continuing Story of Bungalow Bill” consists of two short phrases that are exact repeats of each other lyrically and melodically, the second one 1 1/2 steps below the first. Again, not exactly the “gear box” modulation.
Oddly, the author doesn’t mention my fourth candidate at all, probably because the modulation is so brief, limited to a phrase rather than an entire verse or chorus.
Stay tuned.
By the way, I own the book quoted from, “The Songwriting Secrets of the Beatles.” I know a smattering of music theory, but most of what the author writes makes my eyes glaze over. Still, the book is very entertainingly written, and the author obviously has great love and enthusiasm for his subject. It’s not the kind of thing you’d want to read over too long of a sitting, but it’s lots of fun to dip into from time to time.
Well, I apologize. I read from your post modulation in general. The question in the OP is “why do singers change key in the middle of a song.” The discussion moved towards half and whole tone changes of key, but I thought he was interested in any kind of modulation, not just “gear box” modulation. Mea culpa.
We have winner #1! This is the “funny” example I just mentioned that repeats only a phrase, not an entire verse or chorus.
And Winner #2.
And yes, you’re right. This is the only “gear box” modulation accomplished by use of a passing chord. The other songs just jump right into the raised key.
So to recap, Beatles songs that use the “gear box” modulation (and I’d like to add my thanks for introducing me to a term I hadn’t heard before):
And I Love Her
Good Day Sunshine
Penny Lane
Sgt. Pepper’s Lonely Hearts Club Band (Reprise)
Tom Lehrer’s song “We Will All Go Together When We Go” changes key * ten * times.
Two songs by Helen Reddy, “Delta Dawn” and “Emotion,” change key repeatedly in the coda.
The Who’s “My Generation” changes key from G to A to Bb to C, truck driver style (and a pretty cool example of it, too.)
I see what you did there!
