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Notice how several of these chords have a dual harmonic function. The fourth chord establishes E as the new key,
but the next A takes us briefly into D before returning to A. Try strumming the following version and listen to the
difference:
After B7, we expect E to be the new key – but E7 (a dominant seventh) suggests that it is chord V of A. But when
we land on A, the same thing happens. It's a dominant seventh, suggesting that the new key is D. And then it
happens again. D is another dominant seventh, but instead of going to G we go to Bm and then to A as the new key.
We are never allowed to settle on any chord as a new key; the succession of dominant sevenths insists that we move
on to the next. This was used as a bridge in Badfinger's 'No Matter What'; 'Crosstown Traffic' and the chorus of
'Sunny Afternoon' have similar sequences.
Consider this progression from the verse of 'Now I'm Here' for a series of V-I changes:
VIVIVIVI
G C A D B E F# C#Apart from chord V, you can use another chord that is common to both keys, approach it as you would from the
home key with a home-key chord, but leave it with a chord that is only in the new key. This should either be chord V
of the new key or should lead to chord V of the new key.