Example 17. Four possible ways of representing the pitch content of the bVII segment in “Then Came You” (bracketed in Example 1A). (A) Just the pitches of the segment are shown. (B) The pitches are taken to imply a diatonic (Dorian) collection. (C) The pitches are added to the collection of the previous context. (D) The scale of the previous context continues unchanged; other pitches (b3 and b7) are treated as “chromatic” (represented here with circles)