<html>
<head>
<meta content="text/html; charset=ISO-8859-1"
http-equiv="Content-Type">
</head>
<body bgcolor="#FFFFFF" text="#000000">
John Covach noted:<br>
<blockquote
cite="mid:mailman.67362.1403112637.34384.smt-talk-societymusictheory.org@lists.societymusictheory.org"
type="cite">In case nobody has mentioned it, "Little Old Lady from
Pasadena" fits the bill: Eb then to F for the harmonica solo then
Db in the coda. Is the little old lady shifting gears? <br>
</blockquote>
<br>
Brian Wilson likes to modulate and tonicize. "Good Vibrations" has a
"breakout chorus" in G-flat major after a lamento-bass verse in
E-flat minor. The chorus itself pumps up twice, through A-flat to
B-flat. At the end, the chorus deflates, and then partially
reinflates, so the song ends, arbitrarily, in A-flat. For more
"Regerian" modulatory adventures, there's "This Whole World" (<i>Sunflower</i>,
1970), where the three-part strophic verse moves from (1) CM to
C#m(?) via AM, (2) a transition from C#M to (3) Bb major. <br>
<br>
<br>
Dan Harrison<br>
Allen Forte Professor of Music Theory<br>
Yale University<br>
</body>
</html>