Songs with satisfying key changes: classic J-POP and Japanese tracks where the mood and impression shift naturally
There’s a technique called “modulation” that’s used when you want to dramatically change a song’s scene or mood partway through.
If we were to explain modulation in depth, it would be enough to fill an entire music theory book, so I’ll skip the details here.
The most common pattern is raising the key for the final chorus to heighten the excitement.
There are also songs that, for example, modulate only in the pre-chorus to catch the listener off guard, as well as songs that skillfully modulate repeatedly while still sounding natural, using subtle modulation techniques.
This time, I’ve picked out a few songs where the modulations feel particularly pleasing or are especially well crafted.
If this article sparks your interest in modulation, please explore further by searching online.
Understanding how songs are put together will surely open up a whole new way to enjoy music!
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Songs with satisfying key changes. Classic J-POP and Japanese tracks where the mood and impression shift naturally (61–70)
cherry blossomKobukuro
It was released in 2005 as Kobukuro’s 12th single.
It was selected as the theme song for the Fuji TV drama “Ns’ Aoi” and became a long-running hit.
At the 47th Japan Record Awards, it won the Gold Award and became Kobukuro’s second best-selling single.
It’s a highly popular “sakura song.” The key change when it goes into the chorus feels so natural and satisfying, doesn’t it?
NEXT LEVELYU-KI
This is the second solo single by TRF’s lead vocalist YU-KI, released in March 2006.
It served as the opening theme for the TV Asahi tokusatsu drama Kamen Rider Kabuto.
The key change in this song modulates in the chorus from F minor to D minor, adding three flats (theoretically a modulation up a major sixth).
It clearly signals the modulation to listeners while causing little sense of incongruity, and it’s also a relatively straightforward modulation in terms of chord arrangement.
IT’S ONLY LOVEFukuyama Masaharu
Released in 1994 as Masaharu Fukuyama’s ninth single.
The song was used in a DyDo “Blend Coffee” commercial featuring Fukuyama himself, reached No.
1 on the Oricon Weekly Singles Chart, and became a million-seller.
Bedroom WarfareONE OK ROCK
A track from ONE OK ROCK’s album “Ambitions,” released in January 2017.
The key change in this song is what’s commonly called a “parallel key” modulation.
Put simply, when you play it on the piano, the positions of the black keys don’t change, but the music shifts from a minor key to a major key.
In this song, the key moves from C# minor to E major partway through the chorus.
While listening to the chorus, there’s a moment where the melody suddenly brightens—once you hear that, you’ll get it.
The arrangement and overall sound are sharply defined in true ONE OK ROCK fashion, and even without considering the modulation, it’s an incredibly cool track!
EverythingMISIA
One of MISIA’s signature songs, released in 2000 and often cited as a classic ballad that became a major hit.
Many people find themselves longing for this song not only when they’re in love, but especially as winter sets in.
Its smooth, easy-to-hum melody is particularly memorable.
At the end of the instrumental break leading into the climax, it modulates up a half step from D♭ to D.
This common pattern heightens the build-up into the final chorus.
Combined with MISIA’s vocal prowess, it gives an even greater sense of scale.
DepartureGReeeeN
Released in 2008 as GReeeeN’s sixth single, this song reached No.
10 on the Oricon Weekly Singles Chart.
It vividly portrays his feelings as she sets off to pursue her dreams.
Though he feels lonely, he sends her off with a smile and cheers her on—making it a moving, tear-jerking track.
Tomorrow as wellSHISHAMO
With a cute singing voice that expresses down-to-earth worries and makes listeners feel, “I’ll do my best again tomorrow,” SHISHAMO’s girls’ band anthem “Ashita mo” does just that.
It’s a very simple, catchy, and easy-to-listen-to song, but if you look at it from the perspective of key changes, it’s actually doing something quite complex.
The chorus modulates, and in a way that’s rare in J‑POP: it goes up by six semitones.
Typically, to modulate you use chords common to both the original and new keys, but when you jump up six semitones, there are almost none.
So they deliberately switch up the vibe dramatically, giving listeners a strong impact!
