Examples of I-V modulations in pop/rock?

[S. Alexander Reed]

For a class I'm teaching on the use of secondary dominants leading to
V, I'm looking to bring in some pop/rock examples with which the kids
might be familiar. Can anyone think of any songs that modulate from
major I to major V via a V/V?

Thanks so much,

-Alex

[George The Kat]

Not sure what scale would include major I and major V. Major scale, of
course, would be major I and dominant V.

[S. Alexander Reed]

"George The Kat" <George...@hotmailclaws.com> wrote in message news:<v845fk4...@corp.supernews.com>...

> Not sure what scale would include major I and major V. Major scale, of
> course, would be major I and dominant V.

That's why the pieces I'm looking for have to have modulations in
them. Key changes, if you will. The V becomes a new tonal center,
allowing its own dominant V (featuring the raised 4th of the original
key) to occur. Classical sonata form does this all the time. I'm
just trying to find something within pop/rock that also has, for
example, a verse in C and a chorus in G, with that motion achieved via
a D major or D7 pivot.

Tori Amos's "Little Earthquakes" *kind of* sort of does this, but not
with traditional functional progressions.

Any other ideas?

-Alex

[Dr.Matt]

Full-blown modulation is extremely rare in pop and rock. But V tonicized
by V of V in a half cadence without modulation can be found since the
earliest days of R&B.

--
Matthew H. Fields http://personal.www.umich.edu/~fields
Music: Splendor in Sound
"A journey of a thousand miles begins with a trip to the bathroom."

[Joey Goldstein]

Modulations going to the key of V are rare in pop but the key of IV is
really common. The bridges of a great many pop tunes go to the key of
IV, via V-of-IV (aka I7).

If you're just looking for examples of uses of V of V without an actual
modulation then that's another story.
The Elvis tune, Love Me Tender, starts with a I V-of-V V progression.
Many an arrangement of Our Love Is Here To Stay often starts of V7-of-V.
The second chord of Take The A Train is V-of-V.
Etc., etc.

--
Joey Goldstein
http://www.joeygoldstein.com
<joegold AT sympatico DOT ca>

[Helgi Briem]

No, A V triad is simply a major V. It's only in jazz that
people feel compelled to add a 7th to every chord.

Thousands ( millions? ) of pop/rock songs simply
use a major V (I'm not talking about a maj7).

--
Regards, Helgi Briem
helgi DOT briem AT decode DOT is

[hs]

"S. Alexander Reed" wrote:

> That's why the pieces I'm looking for have to have modulations in
> them. Key changes, if you will. The V becomes a new tonal center,
> allowing its own dominant V (featuring the raised 4th of the original
> key) to occur. Classical sonata form does this all the time. I'm
> just trying to find something within pop/rock that also has, for
> example, a verse in C and a chorus in G, with that motion achieved via
> a D major or D7 pivot.
>
> Tori Amos's "Little Earthquakes" *kind of* sort of does this, but not
> with traditional functional progressions.
>
> Any other ideas?
>

You can find modulations quite often in pieces by Queen. "Love of my Life" does what you want - first to IV and
then back. "The Prophet's Song" contains a modulation in minor to the dominant, with bVI as pivot. The modulation
in the opposite direction is, BTW, quite dramatic! In other pieces, like "Innuendo" or "We are the champions",
you can find other splendid examples of really weird modulations.

Other pieces coming into my mind just now: Black Sabbath "Children of the Sea" (starting in Dm, then changing to
Am and later even to Em), Deep Purple "Anya". I am sure there are more...
--
Hans Straub
http://home.datacomm.ch/straub