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In this amazing song by Ed Carlsen, would the part at 1:14 be considered a key change from B minor to D major? Why or why not?

When I'm trying to find a key to a song, I always listen to the chord progression first. If I'm hearing it correctly, Carlsen finishes the part after 1:14 with D major...

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It would be good to have the sheet music for the song to be able to say with assurance that it indeed has gone to D major. But by the sound of it, it seems to have modulated to a major key, which most probably would be in D major. So, your statement is correct.

Yes, this is ok to do. Because if you go back to the knowledge of the Circle of 5ths, you'd realise that D major is the relative major of B minor. They share the same key signature i.e. 2 sharps - F# & C#. It is quite common in music to modulate between relative major/minor keys. This is often done by using cadences which lead to the new key.

I hope this has somewhat helped in answering your question. But you can definitely ask for clarification in case my explanation wasn't that helpful (This is my first time in answering questions here, so..)

And I have to say, this music piece was beautiful and soothing! Thanks for posting it here!

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If you want to analyse this intro you have to mind that there several relative keys of D major:

harmonic and melodic minor key and the Aeolian mode.

As there is no additional accidental to hear we are in Aeolian or D- major

As the beginning is in b - minor the harmony has a certain ambiguity and you can analyse it as

i-v-VI-VII b-Aeolian

or as vi-iii6-IV7 D-major

So you are right: at bar 17 (~ min 1) the key is defintely D-major

As I startet to listen at this point (min:1) I identified the intro from the beginning in D major: Then it starts with the vi degree but already in the repetion of the first phrase there is a D as changing tone and tonality is fluctation to a tonic chord of D major. Also in bar 9 and 13 I was hearing a inversion of the subdominant of D.

1-4:bm-f#m/A-G7-f#m/A

5-8: bm-f#/A (or D/F#) G7 - f#/A (or A13)

9-12: G/b-A-G7-f#m/A

13-16: G/b-A-G7-f#m/A (whereby the IV7 and V7 have additional chord tones as 9,11,13

bars 9 and 13 I hear quite as IV6 (1. inversion) of a subdominant-dominant cadence to D.

But both analyises will be chorrect.

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The whole piece meanders around B minor and its related chords. D major is VERY closely related to B minor - it's the Relative Major. Same pitch set, same key signature.

Yes, from 1'14" there's quite a few D major chords (but still plenty of B minor ones!). Call it a modulation if you like. It's a very small journey, and doesn't seem to have any structural importance.

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