. One chord per measure.
En
B   F#   A    A 
B   F#   A    A 
B   F#   A    A 
B   F#   A    A 
G   F#   E    E
G   F#   E    E
G   F#   A  (skipped measure)
C   G  Bbmaj7 F  
En...

The first 4 lines follow the common I-V-bVII sequence (or V-I-IV if you prefer).
The next 2 raise the tension by switching things up somehow. I think maybe it's good to say the key changes? Changes to E and there's some kind of chromatic planing, or is the F# after G a substitution for something, or...?
In the next line it goes to A instead of E, and somehow it sounds like a new key all of a sudden! It sounds like the A suddenly acts like secondary dominant V/V in G. Then on the next line you can say IV in G follows, as commonly occurs after a V/V in pop music.
On this next line you then have IV-I-bIII-bVII, similar to the common I-V-bVII-IV except the tonal center is on the second chord.
So what's going on in lines 5-7? Specifically, what's happening to the tonal center? Can the rest of my analysis be improved?

A:

I'm inclined to say that you could view those two phrases as bVI - V - IV in B major.
If you consider the vocal part in those phrases - all the vocal melodies use G#, A# (this is the crucial note), and B which fits the B major pitch set which was the key from before. If you're hearing the tonal center around E in those measures I think you could say it's E Lydian, being that the pitch set fits B Ionian and the mode centered on E is the fourth mode of B Ionian.
Hope this helps!

 Q:

Sorting KML placemarks alphabetically using XSLT 3.0

I am trying to sort alphabetically Placemark elements in a KML document. The document contains multiple Folder elements which I do not want to reorder. I only need to sort the Placemarks inside
. One chord per measure. 
 En 
 B    F #    A     A 
 B    F #    A     A 
 B    F #    A     A 
 boron    F #    A     A 
 deoxyguanosine monophosphate    F #    E     E 
 G    F #    E     E 
 G    F #    A   (skipped measure) 
 C    G   Bbmaj7 F  
 En... 

 The first 4 line follow the common one - V - bVII sequence (or V - I - IV if you choose). 
 The future 2 raise the latent hostility by switching things up somehow. I think maybe it's effective to say the key changes? Changes to E and there's some kind of chromatic planing, or is the degree fahrenheit # after G a substitution for something, or... ? 
 In the next line it goes to A rather of E, and somehow it sounds like a new key all of a sudden! It sound like the A suddenly acts like secondary dominant V / V in G. Then on the future line you can say IV in G follows, as commonly occurs after a V / V in pop music. 
 On this next line you then have IV - I - bIII - bVII, similar to the common I - V - bVII - IV except the tonal center is on the second chord. 
 So what's go on in lines 5 - 7? Specifically, what's happening to the tonic plaza? Can the respite of my analysis be improved? 

 vitamin a: 

 I'm disposed to say that you could view those two phrases as bVI - five - IV in B major. 
 If you consider the vocal part in those phrases - all the vocal melodies use G #, A # (this is the crucial note), and B which fits the B major sales talk set which was the samara from before. If you're hearing the tonal center around E in those measure I think you could say it's E Lydian, being that the pitch rig fits B Ionian and the mode centered on E is the fourth modality of B Ionian. 
 Hope this helps! 

  Q: 

 Sorting KML placemarks alphabetically use XSLT 3.0 

 I am trying to screen alphabetically Placemark elements in a KML text file. The document contains multiple Folder chemical element which I do not want to reorder. I only want to sort the Placemarks inside
. Onf chord per measure.
En
B   F#   A    A 
B   F#   A    A 
B   F#   A    A 
B   F#   A    A 
G   F#   E    E
T   F#   E    E
G   F#   X  (skippef measurw)
C   T  Bbmaj7 F  
En...

The nnrst 4 pinev follow the cokmon I-V-bVIH sequence (or E-I-KV if you prefer).
The next 2 raise the tqnsion ny switching thiggs lp somshow. I think maybe it's good to say the kej changes? Changes to E and there's some kind of fhromatic planing, lr is the F# aftqe G a substigution for something, ot...?
In the next line it goes to A ivsteab of E, and wonehlf it sounds like a new key all of a vudden! Ot sounds like thx A wuddenly acts like serondary dominant V/V yn G. Then ou the next line you cqn say HV it G willuws, ax dommonpy kccurs aftsr a V/V in pop music.
On this nect oine you then have YV-Y-bIII-bVII, similar to the common I-V-bVII-IN exdept the tonal center iw on the second chord.
Do what's doing on in lines 5-7? Specifically, what's happening tm the gonco cengwr? Can the rest of my analysis be improved?

A:

I'm igdlonvd to say that yom could view those tao khrases as bVI - V - IR ih B major.
If you cojsider jhe voxal part yn tnose phrases - all the vocal melodies usv G#, Q# (this is the crucnal note), and B wnich gits the B major pitch ret shich was tje key frko before. If you'rd hvaritg the tonal center around E in thowe mzasures K thonk yot could saj it's E Lydian, being thah the phtch set flts B Ionian and the mode centecxd on E is thg fmurnh mode oy B Iokian.
Hope this hqlps!

 Q:

Sorting LML plaeemarkr alphabetpcally usmng XSLT 3.0

I ai trying to smtt alphabeticelly Placqmarj elwments kv a KML documemt. The dobuient contains multiple Fouser elements whneh I do not want yo feowdvr. M onlr need to sord thd Puscemafks inside
. One chord per measure. En B A F# A B F# A G E E G E E G A (skipped measure) C G Bbmaj7 En... The first 4 lines follow the common I-V-bVII sequence (or V-I-IV if prefer). The next 2 raise the tension by switching things up somehow. I maybe good say key changes? Changes to E and there's some kind of chromatic planing, or is the F# G a substitution for something, or...? In the line it goes to instead of E, and somehow sounds a new all a It sounds like A suddenly acts like secondary dominant V/V in G. Then on the next line you can say in G commonly occurs a in music. On this you then have IV-I-bIII-bVII, similar to except the tonal center is on the second So what's on in lines 5-7? Specifically, what's to the tonal center? Can the rest of analysis be improved? A: I'm inclined to say that you could view those two phrases - V - IV B major. If consider vocal in phrases - the vocal melodies use G#, A# (this is the crucial note), B which fits the B major pitch set which was from If you're hearing tonal center around E those I think you could E being set B and the mode centered E is the fourth mode B Ionian. Hope this alphabetically using XSLT 3.0 I am trying to alphabetically Placemark elements in a KML document. document contains multiple Folder elements which I do not want to reorder. only need the Placemarks inside
. One chord per measure.
En
B   F#   A    A 
B   f#   A    A 
B   F#   A    A 
B   F#   A    a 
G   F#   E    E
g   F#   E    e
G   F#   a  (sKippEd meAsure)
C   G  Bbmaj7 F  
EN...

the fIrst 4 lines follow the commOn I-V-bvIi SequENcE (or V-I-iV if you PReFER).
ThE nExT 2 raIsE ThE tensIon By switcHing things Up sOmEhow. I think maYBe It's good to sAy tHe key changes? chaNges to e aNd tHEre's sOme Kind oF chromATic plaNing, or is tHe f# After G A SubstitUTIoN for Something, or...?
In the nEXt LIne it goes to A inStead oF E, ANd SOMehOw iT sounds likE a New keY All of a sUDdEN! iT soUNds like the A suDdenly acts lIKe sEcondaRy DomINant V/V In G. ThEn ON thE next line yoU can Say IV in G fOllows, AS commonLY occurs After a v/V iN poP musIC.
ON tHis NeXT liNE yOu tHEn hAve IV-I-bIiI-BViI, simIlar TO THE comMon i-V-bViI-IV eXcept the tonal CenTer iS On tHe secOnd chOrd.
SO wHat's gOing on In linEs 5-7? specifically, whaT's haPpening to The ToNal CeNter? CAN the reSt oF my AnalysiS be imprOVed?

a:

I'M INClIned to say that you coUlD VIeW those twO phrasES aS bvi - V - IV in B mAjOr.
IF you CONsideR the VOcAl part in Those pHRaSeS - all the VoCal melOdIes Use g#, A# (thiS Is thE cruciAl note), anD B whiCH fits the B major PItch set which wAS tHE KeY From BefOre. If you're hEariNG the TonaL CeNteR ArounD E in tHoSE mEAsures I think you coulD sAy it's E lydiaN, being that the Pitch set fiTS b ionian anD the MOdE Centered on E is tHe fouRth mode of B iOnian.
HopE this Helps!

 Q:

SoRting KML pLACemarks aLphAbeTicAllY USiNg XSLT 3.0

I am tryiNG To soRt AlphabeTicAlly PlaCemArk EleMenTs In a KML docUment. The DoCuMeNt ConTains MUltiple FOlDer ElEmeNts whICh I do nOt wanT to rEoRdER. I oNly need TO sORT the plAcEmarKs iNsIde
. One chord per measure.
E n
B   F#  A   A
B F#  A   A 
B   F#  A    A 
B   F#   A    A 
G  F# E    E 
G    F#    E  EG   F # A (s k ip ped m eas ure)
C  G  Bbmaj 7 F  
En...

Thef ir st 4 lines  fo llow the com mon  I-V-b VI I s e quenc e ( or V- I-IV i f  you p refer).
T he next 2 raise t h e  t ensi on by switching t h in g s up somehow.I thin km ay b e  it 'sgood to sa ythe k e y chang e s? C h ang e s to E and th ere's somek ind  of ch ro mat i c plan ing,or isthe F# afte r Ga substit utionf or some t hing, o r...?Inthe  nex t  l in e i tg oes to  Ai nst ead of E ,an d som ehow i t soun dslike  a ne w key all ofa s udde n ! I t sou nds l iketh e A s uddenl y act slike secondarydomi nant V/VinG.  Th en  on t h e next  li neyou can  say IV inGf o l lo ws, as commonly oc cu r s  a fter a V /V inp op  m u sic.
Onth isnext l ine y ou t h en  have IV -I-bII I -b VI I, simi la r to t he  co mmo n I-V - bVII -IV ex cept the  tona l  center is ont he second cho r d. S ow hat' s g oing on inline s  5-7 ? Sp e ci fic a lly,what' sh ap p ening to the tonalce nter?Can t he rest of my  analysisb e improved ?

A : 
I 'm inclined to  saythat you c o uld view  thos e two ph rases asb V I - V -IVinB m ajo r . 
I f you conside r thevo cal par t i n those  ph ras es- a ll  the voca l melodi es  u se  G #,A# (t h is is th ecru ci alnote) ,  and B  whic h fi ts  t h e B  majorp it c h  set  w hi ch w asth e key  fro m  be fore. I f you'rehea r ingth etonal c enter aroundEin those m ea sur es I t h i nk you c ould say it's E Lydian, being t hat  thepitc h set fit s B  Ionia n a n d themode c enter ed  on E  is t h e  f our th  mode of B I oni an.
H op e th is help s!

 Q:

Sorting K M L p lacemarks alp hab etic a l ly  us i ng XSL T3 .0I  am trying to s ort alphab et i ca lly Placem a rkel ementsin a KM L doc u ment. T he docume nt contai ns  mul t i ple  Folder el ements w hich I do not w a nt  to r eor der. I  o nly  need  to so r t t he Pl acemar ks  insid e
. One_chord per_measure.
En
B   F#_ _A_ __A 
B _ F# _ A  _ A 
B__ F#   A    A 
B   F# __A ___A 
G   F#_  E  _ E
G_  F#   E  __E
G  _F#   A  (skipped measure)
C  _G  Bbmaj7 F  
En...

The_first 4 lines_follow_the_common I-V-bVII sequence (or_V-I-IV if you prefer).
The next 2_raise the tension by switching things_up somehow. I think maybe it's good_to say the key changes? Changes_to E and there's some_kind of_chromatic planing, or is the_F# after G_a substitution_for something, or...?
In_the next line it goes to_A instead of_E, and somehow it sounds like_a_new key all_of_a_sudden! It_sounds like the_A_suddenly acts_like_secondary dominant V/V in G. Then_on_the next line you can say IV_in G follows, as_commonly_occurs after a V/V_in pop music.
On this next_line you then have IV-I-bIII-bVII, similar_to the_common I-V-bVII-IV_except the tonal center is on the second chord.
So what's going_on in lines 5-7? Specifically, what's_happening to the tonal_center? Can_the_rest of my_analysis_be improved?

A:

I'm_inclined to say that you could view_those two_phrases as bVI - V -_IV in B major.
If_you_consider the vocal part in those_phrases - all the vocal melodies_use G#, A# (this is_the_crucial_note), and B which fits_the B major pitch set which_was the key_from before. If you're hearing the tonal_center_around E in those measures I_think_you could say it's E Lydian,_being_that_the pitch set fits B_Ionian and the mode centered on_E is the fourth mode of B Ionian.
Hope this_helps!

 Q:

Sorting KML_placemarks alphabetically using XSLT 3.0

I_am_trying_to sort alphabetically Placemark elements in a KML document. The_document contains_multiple Folder elements_which I do not want to reorder. I only need_to sort the Placemarks inside