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11.01 Contrast of diatonic and chromatic preparations of V, to show how #4 emphasizes the fifth scale degree: (a) [0:00+] I - vi - ii - V - I; (b) [0:11+] I - vi - II - V - I. (Stig O"Hara-Smith Singers, vocals.) Download

11.02 The "Lazy River" progression: VIm7 - IIm7 - Vm7 - I, repeated at 0:10. (Anne Elk, Stratocaster with bridge pickup for chords and with neck pickup for lead and bass lines.) Download

11.03 An accompaniment based on the I " VIm7 - ii - V - I progression, supporting 1 - #1 [0:03] - 2 as the highest voice. (Wilson Heath, Stratocaster with blended pickups.) Download

11.04 A sequence based on the IIIm7 - vi, ii - V progression, forming a bridge. (Penny Layne, synthesized piano.) Download

11.05 The I - III - IV - I progression, with suspensions on the downbeats. Download

11.06 Three uses of VII: as V of iii, as a lower neighbor to I, and within the expansion VIIm7 - Vm7. The progression runs I " VIIm7 [0:02] - iii - IV - I - VII [0:09] - I " VIIm7 [0:14] " Vm7 - I. Download

11.07 A strong emphasis on IV: I " Im7/3 - IV [0:02] - V, repeated - I. (Chester Cathedral, synthesized piano.) Download

11.08 Pivot-chord modulation to II: I - ii - V - I begins its repeat but V is waylaid (it becomes the new IV at 0:09-0:10) - VI (acts as artificial dominant of II) - II = (new I). The tonicized II is given its own I - ii - V - I progression. Download

11.09 Tonicization of vi in the major mode: I - IV - V - I, repeated; III - vi - III - vi - III - IV " Vm7 - I. The major III chord acts twice as V of vi [0:10] but then is tamed, moving to IV [0:16] in the home key. Download

11.10 Tonicization of bIII in the major mode: I - vi - IV " Vm7 (heard three times); I - bVII - I (a repeated modal cadence preparing the "flat" side); a transitional bVIIm7 moving to a new strain tonicizing bIII: bIII - bVI " bVIIm7 - bIII (sounding at 0:16-0:22 as I - IV - V - I in bIII), repeated; cadencing with bIII leading to a minor-pentatonic cadence, bIII - IV - I. (J. Abrams, Stratocaster with bridge pickup; Bobby Noonan, synthesized piano.) Download

11.11 Tonicization of IV in the major mode: I - ii - V (heard three times) - I " Im7/3 [0:12] - IV - v " Im7 (sounding like the original home-key idea transposed down a perfect fifth to a tonicized IV) - IV " Vm7 - I - V - I. (Simon St. Templar, synthesized piano.) Download

11.12 Tonicization of V in the major mode: I - IV - V - I (repeated) - II " IIm7/#4 - V - II " IIm7/#4 - V " Vm7/4 - I/3. The major II chord acts twice as an artificial V of V (as at 0:15-0:19) but then [0:20] its #4 returns to 4 as the seventh of Vm7; both versions of 4 are highlighted in the bass line. Download

11.13 Tonicization of ii in the major mode, in a quintuple-meter tune: I - vi - IV - V (repeated), VI - ii - VI - ii " Vm7 - I . The ii area is twice given its own chromatic artificial V (VI, at 0:15), but ii gives up its moment of glory to fall into Vm7 [0:20] to return to the opening idea. The example ends with a repeat of the opening phrase, leading to a full cadence. Download

11.14 Tonicization of VI in the major mode: The home key is established with the repeated I - vi - iii - IV - V - I, and then a contrasting section [0:14-0:23] moves from I to IIIm7 - IV " IIIm7 - VI, preparing the way for a new tune in the tonicized VI: VI - II - III - VI (repeated, sounding like I - IV - V - I in the VI area), leading to a repeated cadential ii " Vm7 - I [0:35+]. Ultimately, VI returns home by acting as V of ii. (Jason Webb, acoustic guitars for chords and bass line; David Bourne, synthesized piano.) Download

11.15 Tonicization of III in the major mode: a power-chord accompaniment of I5 - bVII5 - V5 - I5 (repeated) - VII5 - III5 - VII5 - III5 - IV5 - V5 - I5 - bVII5 - V5 - I5 supports III with its artificial V (VII) [0:12]. (Bruce Kent, Stratocaster; Clark Wayne, synthesized piano.) Download

11.16 Tonicization of iii in the major mode, in a simple two-part setting: I - iii - vi " Vm7 - I - VII - iii - vi " VIIm7 - iii - vi " Vm7 - I. The vi " VIIm7 - iii idea [0:16-0:20] sounds like iv " Vm7 - I in the tonicized iii area. Note the mixed meter; bars have five, four, three, four, five, four, three, two, four, five, two, four, and five beats, repectively. Download

11.17 Tonicization of II in the major mode: I " IM7 - vi - iii " Vm7 repeated, then VI - II - V - VI " VIm7 - IIm7 - V - II - V " Vm7, returning to the opening I. VI acts as V of II [0:23]. Download

11.18 Tonicization of bVI in the major mode: vamping on I - IV - I leading at 0:22 to ii - iii - iv - V - I, then [0:35+] vamping on i - iv - i, moving at 0:47 to bII " bIIIm7 - bVI, then [0:52+] vamping on bVI - bII - bVI, moving to - IV - ii " Vm7, returning at 1:09 to the opening I. bIII is used as V of bVI [0:50]. (John Everett, Stratocaster (left); Earl Duke, synthesized bass (right); Walt DeSwaye, synthesized trumpets (center).) Download

11.19 Tonicization of bVII in the major mode: I - ii/1 - I " IVM7 - Vm7 - I - bIII - IV - bVII " Vm7 - I. The bIII - IV - bVII progression [0:19-0:26] sounds like IV - V - I in bVII. (Richard Saunders, synthesizers.) Download

11.20 Tonicization of bII in the major mode: I#9/m7 - ivm7 - Vm7 - I repeated, then [0:15+] biiim7 - bVIm7 - bII " IVm7/sus4-3 - biiim7 - bVIm7 - bII " bIIIm7 - bVIm7 - Vm7, returning at 0:26 to the opening I. The biiim7 - bVIm7 - bII idea sounds like iim7 - Vm7 - I in bII. (Sherrie Amore, synthesized piano.) Download

11.21 Tonicization of #iv in the major mode: I - bIII " IIm7 - bIIm7 - #iv - vii - #iv - #Im7 - #iv - #ivM7 - bVIm7 - Im7/5 - iv " Vm7 - I - V - I, repeated. Here, bII (=#I) [0:06] acts as V of #iv. (Mary Ronan, Stratocaster; Sue Dennim, synthesized piano.) Download

11.22 Tonicization of bIII in the minor mode: i - iv " Vm7/sus4-3 - i, then repeated but with a deceptive motion: i - iv " Vm7/sus4-3 - bVI " bVIIm7/sus4-3 - bIII - IV " Vm7 - I. The bVI - bVII motion [0:14-0:15] acts like IV - V of bIII. (Dan DeLyon, synthesizers.) Download

11.23 Tonicization of bII in the minor mode: i - bVI - iv " Vm7 - i " bVIm7 - bII - bIII - IV - I - bIII - IV - I. The second appearance of bVI [0:27-0:31] acts as V of bII. (Barbara Sturgis-Everett, violin; John Everett, Casino.) Download

11.24 Tonicization of II in the minor mode: vamp on i - bVII - i followed by bIII - bVII - bIII " Vm7 to a vamp on i " Vm7 - VIm7 - vamp on II - I - II, ending with Vm7 - I - bVII - I. Here, V is reinterpreted as IV to act in preparation of VI [0:12], which acts as V of II. (Luther Blissett, Stratocaster; Martha Mideere, synthesized piano.) Download

11.25 Tonicization of ii in the minor mode: i - bIII - i - bIII " Vm7 - VIm7 - ii " Vm7 - i. Notice that the meter is stretched from four to six beats in a bar as Vm7 [0:09-0:10] is reinterpreted as IV of ii. (Scarlet Wurtha, synthesizers; George Lennon, Casino.) Download

11.26 Tonicization of III in the minor mode: i - bVI - bVII - bIII, repeated at 0:08 with a twist: i " bVIM7 - Vm7 - I, leading to VI " VIIm7 - III " VIIm7/#2 - #im7 - VI " VIIm7 - III - IV " Vm7 - I " IIIm7 - IV " Vm7 - I. The #i chord [0:21] is part of the doowop progression in III, as III - #im7 - VI " VIIm7 - III sounds like I " vim7 - IV " Vm7 - I in III. To return, III leads through IV [0:27] to Vm7. (Harry Madge, synthesized piano.) Download