▁the ▁bar bers h op ▁flat ▁sevent h ▁saved ▁the ▁song ▁from ▁" ex cess ive ▁sentiment ality ". ▁▁ ▁After ▁its ▁instrument al ▁linking ▁passage , ▁the ▁key ▁asc ends ▁to ▁its ▁fourth ▁interval . ▁According ▁to ▁author ▁Jim ▁F us illi : ▁" B rian ▁came ▁pretty ▁close ▁to ▁writing ▁himself ▁into ▁a ▁dead ▁end . ▁There ' s ▁really ▁now here ▁to ▁go ▁coming ▁out ▁of ▁the ▁bridge , ▁which ▁mod ul ates ▁to ▁G ▁major ▁from ▁D ▁major ▁but ▁ends ▁with ▁a ▁D ▁major – A ▁major – B ▁minor ▁pattern . ▁Thus , ▁when ▁the ▁song ▁returns ▁to ▁D ▁Major , ▁it ▁must ▁do ▁so ▁from ▁B ▁minor , ▁which ▁is ▁kind ▁of ▁a ▁static ▁change , ▁particularly ▁when ▁the ▁next ▁ch ord ▁is ▁a ▁B ▁minor ▁with ▁only ▁a ▁slight ▁variation ▁in ▁the ▁bass ." ▁Al ong ▁with ▁the ▁ 8 + 4 ▁measure ▁verse / chor us ▁scheme , ▁Down es ▁called ▁the ▁idea ▁of ▁a ▁" bridge ▁section ▁in ▁a ▁related ▁key " ▁standard ▁for ▁rock / pop ▁music , ▁but ▁adds : ▁" What ▁is ▁different ▁here , ▁however , ▁is ▁how ▁the ▁move ▁to ▁the ▁sub domin ant ▁in ▁the ▁bridge ▁conditions ▁the ▁t onal ▁behavior ▁of ▁the ▁entire ▁song , ▁which , ▁though ▁nomin ally ▁in ▁E ▁Major , ▁is ▁character ized ▁throughout ▁by ▁a ▁t ension ▁between ▁it ▁and ▁A ▁major ." ▁The ▁" chor al ▁fant asy " ▁during ▁this ▁key ▁change ▁eventually ▁con cludes ▁that ▁" a ▁clear ▁sense