Here it here: https://www.youtube.com/watch?v=zc28zcBIX7U
Read the analysis below:
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoySGFruopqYEQV9bsMENOEQ9rXgGPzcKl4DY7vvzXMxv6KdBrFfgA8lN4aUsvEuA1X8jOm1G4GkMvV_EWwVbcZ5cwHq3MgeByvOoUjkIUfJEBxmW49qgz7vkK4drxUv8tZnEikCMIwRw/s400/smb_under.bmp)
Conclusion? Eh, just use of secondary dominants and passing augmented chords.
For sake of argument, I'll consider a major chord built on scale degree 7 a "secondary dominant" since it's usually interpreted as V/iii, though it's not exactly tonicizing iii here.The ostinato G and voice leading in general is pretty smooth (Note: I also put all nonharmonic tones in parentheses, including passing tones, neighboring tones and ostinato).
Gotta' love them cute Koji Kondo harmonies.
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