The year is 1980. The last, decadent shimmer of disco ball light is fading, leaving behind a certain quiet uncertainty. The airwaves are changing. While dance music is still a force, the pop landscape craves something more substantial, something that speaks to private moments in an age of public spectacle. It was into this shifting cultural space that a grand, almost cinematic ballad arrived, signaling not an end, but a pivot for one of music’s most enduring icons: Diana Ross.
This piece of music, “It’s My Turn,” was not born of the studio rush but of a narrative necessity. It served as the theme song for the film of the same name, starring Jill Clayburgh and Michael Douglas. Released on the Motown label, its creation followed the monumental success of Ross’s 1980 Diana album, produced by Chic’s Nile Rodgers and Bernard Edwards, which had delivered the irresistible energy of “Upside Down” and “I’m Coming Out.” The contrast could not be starker. Where Diana was all kinetic rhythm and sharp-edged grooves, “It’s My Turn” was pure, open-hearted vulnerability.
The song’s arrangement, credited to Greg Mathieson, is a lesson in restrained emotional build. It starts with a breathtaking simplicity, a soft, deliberate piano figure that rings out in the foreground. There is an unmistakable warmth to the recording, the kind of subtle sonic quality you can truly appreciate only when listening through studio headphones. The acoustic space feels large, yet intimate, like a grand hall where only one person is singing.
Ross’s voice enters with a hushed, almost conversational tone, initially holding back the legendary force of her delivery. The lyric itself is a quiet assertion of self, a monologue about patience, growth, and finally taking one’s place in the sun. This theme resonated deeply with an audience transitioning out of the youthful idealism of the 70s and into the self-actualization of the 80s.
The instrumentation develops gradually, moving from that solo piano introduction to the majestic swell of the full orchestra. This is where the song earns its classification as a true crossover hit. It deliberately sheds the infectious but often polarizing sound of disco for the timeless grandeur of adult contemporary and film scores. The strings—violins, violas, cellos—do not just provide padding; they are the emotional spine of the track. They weave around Ross’s vocal line, responding to her phrasing with soaring counter-melodies and deep, sustained chords. The timbres are rich, captured with a deep fidelity that elevates the song above simple pop fare.
A quiet rhythm section anchors the piece, almost invisibly. The drums maintain a delicate brush-stroke pulse, emphasizing the ballad’s mood rather than its tempo. The bass line is smooth and flowing, offering harmonic foundation without drawing undue attention. Unlike her earlier, funkier material, there is no prominent guitar riff here; the six-string instrument is used solely for texture—gentle acoustic strumming during the verses and perhaps a subtle, ringing electric melody tucked into the mid-section, providing a metallic gleam against the velvet of the strings.
What makes this track a vital component of Ross’s career arc is how successfully it navigated the transition from Motown’s premier diva to a respected, multi-faceted entertainer who could score a hit across multiple genres. It showed that she could be both a dance floor queen and a sophisticated interpreter of a deeply felt, universal lyric. “It’s My Turn” reportedly performed strongly on both the Pop and Adult Contemporary charts, demonstrating its broad appeal to a changing audience. It cemented her ability to own a dramatic power ballad, a skill she would deploy again successfully throughout the decade.
“The way Ross executes the final, heart-wrenching crescendo is not just vocal acrobatics; it is an act of total emotional commitment.”
The climax of the song arrives not through a sudden burst of power, but through a slow, controlled build. Ross’s phrasing becomes more urgent, the vibrato in her voice more pronounced. She starts to employ those signature ad-libs that made her sound instantly recognizable. As the strings reach their peak—a sweeping, romantic declaration—her voice cuts through the entire arrangement. The dynamics are meticulously controlled, rising to a cathartic, yet always tasteful, zenith before receding into the wistful reprise of the opening piano motif.
I remember once playing this song late at night on a long drive home, the city lights streaming past the windshield. It hit differently then, outside of the context of a radio countdown. The song transformed from a simple pop ballad into a soundtrack for personal reflection, a moment of profound, shared solitude. It’s an aural mirror, reflecting back the listener’s own quiet aspirations. For anyone studying vocal technique or just wanting to understand the craft of a perfect pop ballad, dissecting the melodic structure and the way the verse builds to the chorus offers invaluable insights; in this context, the sheet music would reveal a deceptive simplicity that masks the complexity of the emotional delivery.
“It’s My Turn” is a beautifully constructed time capsule. It carries the weight and drama of late 70s filmmaking while foreshadowing the lush, radio-ready sensibility of the early 80s adult contemporary sound. It proved that Diana Ross, the glamorous icon, was also Diana Ross, the intensely relatable woman. She delivered not just a performance, but a confession—a quiet moment of strength that still resonates today.
🎧 Listening Recommendations (Adjacent Mood/Era/Arrangement)
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“Theme from Mahogany (Do You Know Where You’re Going To)” by Diana Ross (1975): Shares the dramatic, orchestral film ballad structure and lush vocal delivery, preceding “It’s My Turn” by five years.
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“The Greatest Love of All” by George Benson (1977/Whitney Houston 1985): A similarly grand, self-affirming anthem built on a core of powerful piano and swelling strings, emphasizing personal growth.
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“Arthur’s Theme (Best That You Can Do)” by Christopher Cross (1981): Captures the specific soft-rock, cinematic feel of early 80s movie themes, with light instrumentation and a soaring chorus.
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“We’ve Got Tonight” by Kenny Rogers & Sheena Easton (1983): Features a similar arrangement style—a simple rhythm section supporting rich orchestral texture—but applied to a romantic duet.
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“Lost in Love” by Air Supply (1979/1980): Epitomizes the tender, keyboard-driven soft-rock era that shared radio space with this Ross ballad, relying on strong melody and emotional vocal harmony.