I believe this was mentioned in the :
“Generic Love Song”
Note that, for Sgt. Pepper, the purpose of the modulation isn’t merely to raise the emotional level, but also to get us from the key of “Good Morning Good Morning” to the key of “A Day In the Life.” (This may have been mentioned in the linked book, but I didn’t see it.)
Even crazier – aren’t some instruments going forever down, while others go forever up, like that double-helix staircase in the Château de Chambord?
Great example! Ends with the truck jack-knifing right off the road. 
On the road, no time to post. This is a great example of a cool use of modulation. Works for me.
Doesn’t Whitney Houston’s version of I Will Always Love Youuuuuuuuuuuu go big with a gear-shift modulation? It’s kinda the last straw with that song, which grates on me to begin with (her version; I like Dolly’s original and am glad Whitney’s version made her a bunch of money…)
In jazz, there is modulation everywhere all the time - but a famous one is the opening track of Miles Davis’ Kind of Blue, the song So What, which I love. They modulate up a 1/2 step, then bring it back down - it just works.
“The Song That Goes Like This,” from Monty Python’s Spamalot!, parodies several cliches of modern Broadway songs, including this one:
[QUOTE=Eric Idle]
I’ll sing it in your face, while we both embrace,
And then we change the key-ey!
Now we’re into E,
That’s awfully high for me.
But everyone can see,
We should have stayed in D.
[/QUOTE]
In actuality, the keys involved are F and G, but it still counts!
I’m just slightly confused by the wording of the OP. Are you thinking that only the singer changed keys?
nm
You think so? I would think the opposite, that it’s quite obvious.
There are two iconic 80s power ballad modulations in my mind.
Runner up for greatest modulation is Bon Jovi’s Livin’ On a Prayer.
1st prize goes to Michael Jackson’s Man in the Mirror. The moment the key shifts is epic.
A cool modulation that I never really noticed until my band started playing the song is The Who’s I Can See For Miles.
Came in to say the same. The singer changes key because the music changed key; if only the singer changed key it would sound like shit (tough to sing that way too).
Cat Stevens did not write that music. It’s an old Christmas song called Child In A Manager.
Yeah, my jaw dropped when I found that out.
It is extremely common in Schlager/Eurovision style music, which is also where Abba first became known internationally. Seriously, watch Eurovision and you’ll have to count the songs that don’t do it.
Three of my favorite modulations:
[ul]
[li]Cottleston Pie at 0:50[/li][li]Lodi at 1:56[/li][li]Lookin’ Out My Back Door at 1:45[/li][/ul]
I started to say this, too, but then was concerned I had misinterpreted Frylock’s question. Yes, what you say is certainly true.
I wonder if instead the OP thought that only Emmylou changed keys (as evidenced by her moving her capo) while her accompanying musicians did not.
A capo move would happen so that Emmylou could continue to play simple open chords. But musicians who were playing other parts could accommodate the change without a capo, simply by moving to barre chords (which they may well have been using anyway).
By the way, I use Emmylou’s technique for the modulation that happens at the last verse of The Cyrkle’s “Red Rubber Ball.” I have a “sliding capo” which is supposed to make this quick change easy. But in practice, it doesn’t always work that way. It sometimes sticks rather than sliding smoothly, and then you have a real mess on your hands trying to get it positioned properly behind the third fret while still singing the song!
Actually, that’s kind of an interesting question. I wonder if there are any pop/rock songs that start out with the vocals and band in one key, then go bitonal with the singer changing keys while the band does not. I would not be too surprised if a prog rock band did it.
I’m reminded of a favorite music story I love to tell.
I was in a country/rockabilly band through much of the 1970s. The band’s other guitarist had a wife who would get up and sing a few numbers with us. Franny had a heart of gold and I loved her dearly, but she was not the world’s greatest vocalist by any means.
There was a period of time where I had left the band temporarily, and they carried on with another guitarist. I was still good friends with all of them, so one night I dropped in on one of their gigs. Inevitably, I ended up sitting in with them.
I wind up playing bass at just the time when Franny is onstage and someone requests a polka. So we dutifully go into “Roll Out the Barrel” or something like that, with Franny singing it.
So I’m bouncing between my root and fifth along with everyone else in the key of A…but it soon becomes apparent that Franny is singing in Bb! It was more than her just being a little sharp…she really was up a full-half step.
I did the only thing I could under the circumstances…I yelled out “Bb, boys!” and we all modulated to that key for the remainder of the song.
Well, I’m surprised to be the first to mention it, but a great deal of blues songs do this. You modulate between the I, IV and V, and the (pentatonic) scale usually follows the root of the current chord.
Why change key? Because it sounds cool when you do it right, that’s why!
ETA: Of course, the blues players often have a creative idea of even a blues scale. When you get to playing the blues, all bets are probably off.
That’s exactly what I’m asking–I’m asking if the OP thought only Emmylou (or anyway, “the singer” in each clip) changed keys while no one else in the performance did.
In this case, while the chords are changing (and most all songs have chord changes, not just blues) the overall key (whichever is the “I” chord) does not.
What’s being talked about here is if the blues song went from, say, G-C-D to G#-C#-D# - a change of key from G to G#.