As with most second strains of march music, "rapidly changing" chords are featured: a legacy of Sousa. The IV chord is used here in marches to create an "uplifting" and lyrical sound which tends either to resolve back to the I chord—or to proceed into the V chord, as it does here. At the tenth measure, (|F|E7|), which restates the main theme, Sousa uses a "deceptive" chord change. Instead of using F to G7 to C (as in measures two and three), the chord goes from the IV (F) "to" V7/VI (i.e., E7), "to" the VI (Am). The main melodic theme uses the same notes, but revolves around a different harmonic progression. Sousa then uses his trademark chromatic-accented chord A♭7, (a half-step below the previous chord) to create a "wall of tension" that quickly resolves into the I chord.