Oct 8 Oct 8 Too-ra-loo Indeed: Common Tone AND Diatonic Pivot Modulation in Dexys Midnight Runners' "Come on Eileen" Emily Langerholc modulation
Jul 17 Jul 17 Working on the Six-Eight Sway: Symmetrical Compound Meter in Kate Bush's "Suspended in Gaffa" Emily Langerholc meter
Apr 12 Apr 12 Subdivision in Synths: Symmetrical Compound Meter in INXS's "Never Tear Us Apart" Emily Langerholc meter
Jul 24 Jul 24 The 80s in One Key Change: Direct Modulation in Starship's "Nothing's Gonna Stop Us Now" Emily Langerholc modulation
Mar 31 Mar 31 More Than Halfway There: Common Tone/Flattened Submediant Modulation in Bon Jovi's "Livin' on a Prayer" Emily Langerholc modulation
Jan 12 Jan 12 Touching Some Common Beats: Cross-Rhythm in The Cars' "Touch and Go" Emily Langerholc cross rhythms
Jan 10 Jan 10 Typical Rush Time Changes: Changing & Asymmetrical Compound Meter in Rush's "Tom Sawyer" Emily Langerholc meter
Jan 9 Jan 9 Two Time Signatures at Once: Cross-Rhythm in Tears for Fears's "Everybody Wants to Rule the World" Emily Langerholc cross rhythms
Oct 11 Oct 11 Asymmetrical Compound Meter in David Bowie's "Up the Hill Backwards" Emily Langerholc meter
