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I VI IV II: C Am F Dm

'Toledo'.

Group 7
This group takes Group 1 and replaces the minor chords with majors (reverse polarity), or uses IVm. Some of these
turnarounds arouse an expectation of a key change that does not happen.

I IImaj IV V: C D F G

This has a 1960s pop effect. 'As Time Goes By', 'Silver Machine' v.

I IV IImaj V: C F D G

This sounds as though you have changed the key to G. 'Shop Around' i and v. To nullify

this effect, make the G a G7. 'Goodbye Yellow Brick Road' opening of v displaced to II

V I IV. 'Hold Me Tight' v has these all as dominant sevenths.

I IImaj III IV: C D Em F

'Modern Love' ch.

I IIImaj II V: C E Dm G

'You're Gonna Lose That Girl' v.

I IIImaj IV IImaj: C E F D

'(Sittin' On) The Dock Of The Bay' v – plenty of surprise in this sequence.

I IIImaj IV IVm: C E F Fm

'Creep'.

I IIImaj IV V: C E F G

'Waiting For An Alibi' ch, 'Imagine' br. displaced as IV V I IIImaj.

I IIImaj VI IV: C E Am F

'She's Electric' v.

I IV IIImaj V: C F E G

This has quite an unpredictable sound.

I IV IIImaj VI: C F E Am

'Caught By The Fuzz' v. This gives the sense of having changed key to A minor.