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 hits where the mood and impression shift naturally (81–90)
smileikimonogakari
Ikimono-gakari’s 26th single, released in July 2013.
It’s a bright, quintessentially “smile”-filled song that feels very true to them, and listening to it puts you in a really joyful mood.
What further emphasizes that brightness is the key change at around 2:30 in the video, leading into the final chorus.
This is a great example of using modulation to shift the scene.
A key-raising modulation in the last chorus is a fairly common technique, but this track really lets you feel its effect.
When cherry-blossom hues danceNakajima Mika
It was released in 2005 as Mika Nakashima’s 14th single.
Issued as a non-tie-in single, it is a ballad that depicts seasonal scenery and the changing emotional landscapes of lovers.
It also marked her first song themed around cherry blossoms.
Aim to be a Pokémon MasterMatsumoto Rika
It wouldn’t be an exaggeration to call this one of Japan’s proudest anime songs.
From the globally beloved Pokémon series, this is the very first opening theme of the anime.
It’s sung by Rica Matsumoto, the voice actor who plays the protagonist, Ash.
Infused with elements of funk, the cool sound only grows on you the more you listen, giving it a distinctly musical kind of swagger.
Rather than going for flash, it shows tasteful key changes and arrangements that evoke a sense of adventure gradually blossoming.
Everyday, KachushaAKB48
Released in 2011 as AKB48’s 21st single.
The song features Atsuko Maeda in the center position and served as the theme song for the Toho-distributed film “What If the Manager of a High School Baseball Team Read Drucker’s ‘Management’,” among many other tie-ins.
The music video, shot entirely in Guam, is also a must-see.
The key change before the chorus feels natural and pleasant to listen to.
GarnetOku Hanako
It was released in 2006 as Hanako Oku’s fourth single.
The song was used as the theme for the animated film The Girl Who Leapt Through Time and achieved long-running sales along with the film’s extended theatrical run.
The gemstone meaning of garnet is “friendship” and “affection,” which aligns with the film’s theme.
sense of shameshuuchishin
Released in 2008 as the debut single of Shuchishin, a three-member project unit formed by Takeshi Tsuruno, Naoki Nokubo, and Yusuke Kamiji from the Fuji TV quiz-variety show “Quiz! Hexagon II.” The lyrics were written by Shinsuke Shimada and the music composed by Ani Takahara, and the single became a major hit.
Songs with satisfying key changes: Classic J-POP and Japanese tracks where the mood and impression shift naturally (91–100)
Stars on EarthNakajima Miyuki
This is the 37th single by singer-songwriter Miyuki Nakajima, released in July 2000.
It became a major hit after being chosen as the opening theme for the NHK General TV documentary series “Project X: Challengers.” Since it was the opening theme of an extremely popular show at the time, many of you have probably heard it.
In terms of modulation, the song uses the common technique of raising the key by a half step right before the final chorus.
Although it’s a frequently used approach, it’s highly effective in creating a dramatic effect.