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 Key Changes That Feel Great: Classic J-POP and Japanese Hits That Naturally Shift and Change Impression (51–60)
Hello, Again ~A Place That’s Been There Since Long Ago~My Little Lover
This song, with its strikingly memorable chorus, is “Hello, Again ~A Place Long Ago~,” released in 1995 by My Little Lover, known to fans as “Maira-ba.” Its popularity was reignited when JUJU released a cover.
While the intro, verse, and pre-chorus are bright, the chorus takes on a more serious mood—this is where the key changes.
That modulation adds significant movement to the piece, resulting in a dramatic work.
Start over!Sakurazaka46
A number that highlights the live energy driven by the jumping in the intro and strongly showcases Sakurazaka’s strength in performance.
It was released in 2023 as their sixth single.
The composition is by Nasca, who has delivered numerous classics in collaboration with the group, including during the Keyakizaka era.
With its significant impact, this song became a turning point for the group—a message song where the fusion of classical elements and rock-pop resonates beautifully.
Centered in a minor key, the frequent modulations give the impression of traveling back and forth across distant tonal spaces.
The lift in the final chorus brings a brighter feel, and together with the members’ expressions, it really hits you in the heart.
It’s a bold, challenging track that spurs a fresh restart.
MarionetteBOØWY
Released in 1987 as BOØWY’s sixth single.
Vocalist Kyosuke Himuro said he wrote the song with the mindset of “If anything by BOØWY will sell, then take this,” and true to his words, it reached No.
1 on the Oricon charts and became one of BOØWY’s signature songs.
Magic MusicKimura Kaera
Kaela Kimura is a female singer-songwriter who still enjoys strong support from certain segments of listeners.
She has many great songs, but the one I especially recommend is “Magic Music.” This track, characteristic of her early career, leans heavily into rock, maintaining a high voltage while staying irresistibly cute throughout.
The chorus features a key change—not at the beginning, but partway through.
It’s rare for the key to rise midway through the chorus as it does here, so be sure to give it a listen and hear it for yourself.
Songs with satisfying key changes. Classic J-POP and Japanese tracks where the mood and impression shift naturally (61–70)
TemptationGLAY
Released in 1998 as GLAY’s 13th single, this song was used in the “TDK MiniDisc XA Series” campaign, achieved million-seller status, and ranked No.
1 on Oricon’s annual singles chart for 1998.
It is also one of GLAY’s signature songs, frequently performed live.
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.
FLASHPerfume
Perfume’s digitally released single from March 2016.
The key change in this song follows a pattern where it modulates in parallel at the start of the chorus, moving from D-flat major to B-flat minor.
As far as I know, there aren’t many songs that switch to a minor key in the chorus, but in this track, the use of a bright melody in the pre-chorus (B-melody) makes the transition to a minor key in the chorus stand out even more through its composition and arrangement.
It’s a technique that emphasizes the bittersweet feel of the chorus.
