Hostname: page-component-78c5997874-ndw9j Total loading time: 0 Render date: 2024-11-18T03:17:16.673Z Has data issue: false hasContentIssue false
  • English
  • Français

Elevating form and elevating modulation

Published online by Cambridge University Press:  19 December 2014

Dai Griffiths
Dai Griffiths*
Affiliation:
School of Arts, Oxford Brookes University, Oxford, UK E-mail: [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

The device known as, among other terms, truck-driver modulation, arranger's modulation and pump-up modulation is an important procedure for popular music, and one that merits a place in the harmony textbook. Emerging from a discussion of nomenclature, this paper proposes the terms of its title, which distinguishes between modulation as part of the overall form of a track, and modulation as a technical device. Four models are presented for the modulation, with a final discussion of different models used in the one track.

Type
Articles
Information
Popular Music , Volume 34 , Issue 1 , January 2015 , pp. 22 - 44
Copyright
Copyright © Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Anwood, R. 2003. http://www.gearchange.orgGoogle Scholar
Arnold, M. 1970. ‘The study of poetry’ [1880] in Matthew Arnold: Selected Prose, ed. Keating, P.J. (Harmondsworth, Penguin), pp. 340–66Google Scholar
Bailey, R. 1977. ‘The structure of the ring and its evolution’, 19th-Century Music, 1/i, pp. 48–61Google Scholar
Björnberg, A. 1987. ‘En liten sång som alla andra: Melodifestivalen 1959–1983’, dissertation (Gothenburg, Department of Musicology, University of Gothenburg)Google Scholar
Buchler, M. 2008. ‘Modulation as a dramatic agent in Frank Loesser's Broadway songs’, Music Theory Spectrum, 30/1, pp. 35–60CrossRefGoogle Scholar
Capuzzo, G. 2009. ‘Sectional tonality and sectional centricity in rock music’, Music Theory Spectrum, 31/1, pp. 157–74Google Scholar
Chase, W. 2006. How Music Really Works: The Essential Handbook for Songwriters, Performers, and Music Students. http://www.howmusicreallyworks.comGoogle Scholar
Christensen, T. 2001. ‘The disciplines of musicology: musicology. Theoretical and analytical method’, The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Sadie, S. (London, Macmillan)Google Scholar
Doll, C. 2011. ‘Rockin’ out: expressive modulation in verse-chorus form’, Music Theory Online, 17/3Google Scholar
Everett, W. 1997. ‘Swallowed by a song: Paul Simon's crisis of chromaticism’, in Understanding Rock: Essays in Musical Analysis, ed. Covach, J. and Boone, G.M. (New York, Oxford University Press), pp. 113–53Google Scholar
Everett, W. 2009. The Foundations of Rock: From ‘Blue Suede Shoes’ to ‘Suite: Judy Blue Eyes’ (New York, Oxford University Press) and http://global.oup.com/us/companion.websites/9780195310245Google Scholar
Fabbri, F. 2008. Il suono in cui viviamo. Saggi sulla popular music (Milan, Il Saggiatore Tascabili)Google Scholar
Gauldin, R. 1997. Harmonic Practice in Tonal Music (New York, Norton)Google Scholar
Griffiths, D. 2007. Elvis Costello (London, Equinox)Google Scholar
Hughes, T. 2003. ‘Groove and flow: six analytical essays on the music of Stevie Wonder’, PhD dissertation (Seattle, WA, University of Washington)Google Scholar
Hyer, B. 2001. ‘Tonality’, in The New Grove Dictionary of Music and Musicians, 2nd edn, ed. Sadie, S. (London, Macmillan)Google Scholar
Hyer, B. 2002. ‘Tonality’, in The Cambridge History of Western Music Theory, ed. Christensen, T. (Cambridge, Cambridge University Press), pp. 726–52Google Scholar
Kaminsky, P. 1992. ‘The popular album as song cycle: Paul Simon's Still Crazy After All These Years’ College Music Symposium, 32, pp. 38–54Google Scholar
Krebs, H. 1981. ‘Alternatives to monotonality in early nineteenth-century music’, Journal of Music Theory, 25/1, pp. 1–16CrossRefGoogle Scholar
Lambert, P. 2007. Inside the Mind of Brian Wilson: The Songs, Sounds and Influences of the Beach Boys' Founding Genius (New York, Continuum)Google Scholar
Manilow, B. 2000. The Barry Manilow Anthology (Milwaukee, WI, Hal Leonard Corporation)Google Scholar
Maus, F.E. 2003. ‘Modulation’, in Continuum Encyclopaedia of Popular Music of the World, Vol. 2: Performance and Production, ed. Shepherd, J., Horn, D., Laing, D., Oliver, P. and Wicke, P. (London and New York, Continuum), pp. 555–6Google Scholar
McCreless, P. 1996. ‘An evolutionary perspective on nineteenth-century semitonal relations’, in The Second Practice of Nineteenth-Century Tonality, ed. Kinderman, W. and Krebs, H. (Lincoln, NE, University of Nebraska Press), pp. 87–113Google Scholar
Metzer, D. 2012. ‘The power ballad’, Popular Music, 31/3, pp. 437–59Google Scholar
Piston, W. 1987. Harmony, revised and expanded Mark de voto. (London: Victor Gollancz)Google Scholar
Pratt, G. 1984. The Dynamics of Harmony: Principles and Practice (Milton Keynes, Open University Press)Google Scholar
Ricci, A. 2000. ‘A “hard habit to break”: the integration of harmonic cycles and voice-leading structure in two songs by Chicago’, Indiana Theory Review, 21, pp. 129–46Google Scholar
Schachter, C. 1987. ‘Analysis by key: another look at modulation’, Music Analysis, 6/3, pp. 289–318Google Scholar
Schachter, C. 1999. ‘Analysis by key: another look at modulation’, in Unfoldings (New York, Oxford University Press), pp. 134–60Google Scholar
Schoenberg, A. 1969. Structural Functions of Harmony (London, Faber)Google Scholar
Sontag, S. 1982. ‘Notes on “Camp”’, The Susan Sontag Reader (Harmondsworth, Penguin), pp. 105–19Google Scholar
Tovey, D.F. 1949. ‘Tonality in Schubert’, in Essays and Lectures on Music (Oxford, Oxford University Press), pp. 134–59Google Scholar
Webb, J. 1998. Tunesmith: Inside the Art of Songwriting (New York, Hyperion)Google Scholar
Zollo, P. 1997. Songwriters on Songwriting (expanded edn) (New York, Da Capo)Google Scholar

Discography

Ballard, Russ, ‘Since You Been Gone’. Winning. Epic. 1976Google Scholar
The Beach Boys, ‘Dance, Dance, Dance’. Today! Capitol. 1965Google Scholar
Beyoncé, , ‘Love On Top’. 4. Columbia. 2011Google Scholar
Bob the Builder, ‘Bob the Builder’ theme tune. BBC. 1998Google Scholar
Boone, Daniel, ‘Beautiful Sunday’. Penny Farthing. 1972Google Scholar
Carpenters, The, ‘Rainy Days and Mondays’. Carpenters. A & M. 1971Google Scholar
Carpenters, The, ‘Goodbye to Love’. A Song for You. A & M. 1972Google Scholar
Chicago, , ‘You're the Inspiration’. Chicago 17. Full Moon. 1984Google Scholar
Clark, Petula, ‘If I Only Had Time’. Just Pet. Pye. 1969Google Scholar
Clifton, Ronnie, ‘A Windmill in Old Amsterdam’. HMV. 1965Google Scholar
Clooney, Rosemary, ‘God Bless America’. The Last Concert. Concord. 2002Google Scholar
Joe Cocker and Jennifer Warnes, ‘Up Where We Belong’. An Officer and a Gentleman Original Soundtrack. Island. 1982Google Scholar
Nat King Cole, ‘Let There Be Love’. Nat King Cole Sings/George Shearing Plays. Capitol. 1962Google Scholar
Collins, Phil, ‘A Groovy Kind of Love’. Buster Original Soundtrack. Virgin. 1988Google Scholar
Costello, Elvis, ‘Lovable’. King of America. F-Beat. 1986Google Scholar
Costello, Elvis, ‘American Without Tears’. King of America. F-Beat. 1986Google Scholar
Cribbins, Bernard, ‘Right Said Fred’. Parlophone. 1962Google Scholar
Bing Crosby and The Andrews Sisters, with Vic Shoen & His Orchestra, ‘Ac-cent-tchu-ate the Positive’. Decca. 1944Google Scholar
Bing Crosby and The Andrews Sisters, with Vic Shoen & His Orchestra, ‘(There'll be a) Hot Time in the Town of Berlin’. Decca. 1944Google Scholar
Darin, Bobby, ‘Mack the Knife’. Atco. 1959Google Scholar
Dion, Celine, ‘The Power of Love’. The Colour of My Love. Epic. 1993Google Scholar
Feather, Lorraine, ‘We're Rockin’ in Rhythm’. Café Society. Sanctuary. 2003Google Scholar
Flanders and Swann, ‘A Song of Patriotic Prejudice’. At the Drop of Another Hat. Parlophone. 1964Google Scholar
Franklin, Aretha, ‘Think’. Aretha Now. Atlantic. 1968Google Scholar
Gaynor, Gloria, ‘I Am What I Am’. I Am Gloria Gaynor. Chrysalis. 1984Google Scholar
Hall and Oates, ‘She's Gone’. Abandoned Luncheonette. Atlantic. 1973Google Scholar
Hebb, Bobby, ‘Sunny’. Philips. 1966Google Scholar
Houston, Whitney, ‘I Will Always Love You’. The Bodyguard Original Soundtrack. Arista. 1992Google Scholar
Jenkins, Karl, Band, Cory, and Cantorion, , ‘Myfanwy’. This Land of Ours. EMI. 2007Google Scholar
Cleo Laine and Laurie Holloway, ‘I Hear Music’. Loesser Genius. Q-Note. 2003Google Scholar
Manilow, Barry, ‘Mandy’. Barry Manilow II. Bell. 1974Google Scholar
Manilow, Barry, ‘I Write the Songs’. Tryin’ to Get the Feeling. Arista. 1975Google Scholar
Manilow, Barry, ‘Weekend in New England’. This One's for You. Arista. 1976Google Scholar
Manilow, Barry. Greatest Hits. Arista. 1978Google Scholar
The Mindbenders, ‘A Groovy Kind of Love’. Fontana. 1965Google Scholar
Minnelli, Liza, ‘Cabaret’. Live at the Winter Garden. Columbia. 1974Google Scholar
The Pretenders, ‘Back on the Chain Gang’. Learning to Crawl. Sire. 1983Google Scholar
Rainbow, , ‘Since You Been Gone’. Down to Earth. Polydor. 1979Google Scholar
Richard, Cliff, ‘Summer Holiday’. Columbia. 1963Google Scholar
The Ronettes, ‘Sleigh Ride’. A Christmas Gift for You from Philles Records. Philles. 1963Google Scholar
Ruffin, Jimmy, ‘What Becomes of the Brokenhearted?’. Motown (Soul). 1966Google Scholar
Simon, Paul. Greatest Hits Etc. Columbia. 1977Google Scholar
Sinatra, Frank, ‘The Lady is a Tramp’. Pal Joey Original Soundtrack. Capitol. 1957Google Scholar
Sinatra, Frank, ‘Ol’ MacDonald’. Capitol. 1960Google Scholar
Sinatra, Frank, ‘I Get a Kick out of You’. Sinatra and Swingin’ Brass. Reprise. 1962Google Scholar
Smiths, The, ‘Paint a Vulgar Picture’. Strangeways Here We Come. Rough Trade. 1987Google Scholar
Springfield, Dusty, ‘You Don't Have to Say You Love Me’. Phillips. 1966Google Scholar
Springsteen, Bruce, ‘The Ties that Bind’. The River. Columbia. 1980Google Scholar
Squeeze, , ‘Up the Junction’. Cool for Cats. A & M. 1979Google Scholar
Jo Stafford and Gordon MacRae, ‘Abide With Me’. Whispering Hope. Capitol. 1962Google Scholar
Stevens, Cat, ‘Morning Has Broken’. Teaser and the Firecat. Island. 1971Google Scholar
Supertramp, , ‘Dreamer’. Crime of the Century. A and M. 1974Google Scholar
Tremeloes, The, ‘Silence is Golden’. Columbia. 1967Google Scholar
Twitty, Conway, ‘I'd Love to Lay You Down’. Heart and Soul. MCA. 1980Google Scholar
Vee, Bobby, ‘Take Good Care of My Baby’. Liberty. 1961Google Scholar
Westlife. Greatest Hits. RCA. 2011Google Scholar

Score-based works

Mozart, W.A., ‘Voi che Sapete’. Le Nozze di Figaro, K. 482. 1792Google Scholar
Schumann, R.. Faschingsschwank aus Wien, Op. 26. 1839Google Scholar