Few pop songs from the early 1980s leaned on key changes as much as “Total Eclipse Of The Heart” by Bonnie Tyler did, and it was an excellent creative choice. The modulations, the key changes, everything about the pre-chorus portion of this song is a slow, steady buildup to an absolutely explosive chorus.
If you’re a music theorist or audiophile who wants to learn more about the intricate key changes in this song, I highly recommend this video from Charles Cornell that breaks down “Total Eclipse Of The Heart”.
When one thinks of 1980s pop, on often thinks of “Take On Me” by a-ha, complete with that legendary key change. In this synth-pop classic from 1984, the song starts in the key of A major with a fairly basic chord progression. But the key change ascends from the chorus into the final chorus and outro of the song, giving it a “lifted” effect that is further bolstered by Morten Harket hitting a high falsetto E5 at the end of the song.
Fun fact: Harket also hits the lowest pitch in the song and effectively demonstrates a vocal range that few pop stars, then or now, could ever master. “Take On Me” might just be the hardest 1980s pop song to cover, ever.
This song might be one of Michael Jackson’s most well-known pop hits, and it’s one complete with a gospel edge and a significant key change toward the end. For most of the song, the key is in G major. But for the last portion of the song, MJ kicks the key up a semitone into Ab major. It’s a legendary key change that adds an almost heavenly, anthemic energy to the song. And, honestly, I think this might be one of the most effective and powerful uses of the key change finale in any pop song ever.