Patterns in Harmony

Patterns of HarmonyAuthor(s): Allan MooreSource: Popular Music, Vol. 11, No. 1 (Jan., 1992), pp. 73-106Published by: Cambridge University PressStable URL: http://www.jstor.org/stable/853228 .

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Popular Music (1992) Volume 11/1

Patterns of harmony

ALLAN MOORE

Introduction There are two seemingly self-evident truths concerning the harmonic practices of popular music. The first, which finds clear expression in Adorno, is that such music's harmonic language is both detrimentally limited and static. The harmonic repertoire is considered to consist of a few formulae (Adorno deals with them in terms of standardisation: see Middleton 1990, p. 45ff.), by means of which songwriters string together their songs, uninfluenced by the song's content. For the expert listener, therefore, popular music should be uninteresting: it is only its psycho-economic dimension which makes it worthy of study. This tends also to be the conclusion of established musicology, except that there it is felt such 'extra- musical' speculation is best left to the sociologist. The second truth is that the differences between Afro-American-derived styles are material, since our identities are so strongly incorporated in the styles we use: We mark out the differences between genres and styles partly by reference to contrasts in the way this stock of techniques and sounds is used. (Middleton 1990, p. 88) Since harmony is not only at the forefront of traditional analytical investigation, but also forms an important initial focus for songwriters, it may well be assumed that it is therefore an important factor in enabling us to distinguish, for example, 'rock' from 'pop' from 'soul'. However, the material reality behind these differences of style has rarely been subject to systematic investigation.

I have long felt that these twin beliefs are the result of speculation rather than analytical insight, and the data presented here in the appendix is intended to shed some light on the harmonic nature of such music. The data collection exercise began as a pedagogical tool, aimed at enabling ab initio students to acquire the beginnings of a sense of harmony. It is presented with this aim still very much in mind, and it may therefore be of use to some readers of this journal. Needless to say, the task is barely under way. Aside from enabling me to respond to these self- evident truths, the practice of categorising the data has raised a number of important questions, consideration of which might be bypassed by those not particularly musically literate.

I have subjected a wide variety of rock/pop/soul to harmonic analysis so far. Some songs may be rather unfamiliar to some readers, and the range perhaps unbalanced. The music used here has been almost randomly chosen, but with a primary concern to evade the implicit construction of a central canon. I have decided to make this work public at this time both for its pedagogic value and because the range of data seems to be large enough to begin to support conclusions, although the exercise clearly requires extending before such conclusions can be considered properly definitive.

73



74 Allan Moore

Reading the data

The appendix lists a large number of harmonic patterns, categorised in order to enable similarities to be compared. It is for this reason that I have adopted a functional harmony (roman numeral) system of presentation rather than a simple chord-name system, although by this I do not intend to suggest that the rules of classical functional harmony operate: indeed, it will become clear that they cannot. The patterns should be largely self-explanatory: they relate only to portions of songs, sometimes verses, sometimes refrains, occasionally link and bridge pass- ages, depending on the characteristics of each individual song. (Many songs therefore appear in two or even three places.) Although regularity of harmonic movement within a pattern may indeed act as a norm, this should not be assumed a priori.

The patterns are grouped in such a way as to enable ready identification. Class A covers patterns without a change of harmony: thus groups beginning A- are essentially modal melodies over a (tonic) drone, whether occurring during an instrumental solo, a verse or a refrain; groups beginning B- identify the same over clear descending bass lines; groups beginning C- cover alternations between two forms of tonic. Classes B to G are essentially concerned with the distance of the initial move away from the pattern's tonic. In addition, classes B and C include stepwise moves from a pattern's initial harmony where this is not the tonic, classes D and E include patterns where mediant-tonic (III-I) or submediant-tonic (VI-I) combinations predominate, and classes F and G include unusual patterns where dominant-tonic (V-I) or subdominant-tonic (IV-I) combinations likewise predominate. Within each of these classes, patterns are ordered successively on the first harmony, then the second, and then subsequent harmonies within the pattern. Classes B and D are ordered 'downward' (from I to VII to VI etc.) while classes C and E are ordered 'upward'. Classes H and I concern the identity of the whole progression, and here I have included those common departures from a precise fifth-cyclic ordering. Again, class H is ordered 'upward' and class I 'downward'. Although some of these patterns may not initially appear cyclic, closer inspection will reveal that each incorporates at least three stages of a cyclic progression, with occasional non-cyclic chords admitted where they are subservient to the pattern's cyclic identity. Classes M and N relate to changes of mode: class M covers cyclical changes (those occurring more than once), class N linear ones. In both, patterns are ordered in an 'upward' direction.

Within each class, patterns have been identified at the left hand side of each entry by means of a two- or three-letter alphabetic code. This is to enable cross- referencing, to which I shall return in a moment. The general rationale behind the code can be explored with reference to class F (dominant sequences). Groups beginning A- all have patterns which start I-V-. Groups beginning B- all have patterns starting II-, those beginning D- all start IV-, etc. Within this, groups beginning AA- consist solely of I-V, those beginning AB- have patterns starting I- V-I-, those beginning ABC- have patterns starting I-V-II-, those beginning ABD- start I-V-III-, and so on, in a fairly logical manner. Where it is necessary to further differentiate patterns, and especially where the same pattern appears within a different mode (see e.g. all groups AA- here), I have appended lower case letters.

Therefore, each pattern is uniquely identified. For example, the common Aeolian pattern I-VI-VII can be referred to as CDAa. The initial 'C' refers to the



Patterns of harmony 75

class 'stepwise ascending harmony', while 'DAa' references the pattern within that class. The code CIAb which appears in brackets is a cross-reference to the Aeolian pattern VI-VII-I, which it strongly resembles. Patterns have not been exhaustively cross-referenced: I have concentrated on those I have found of most practical value. Classes have been derived pragmatically in order to include all the patterns I have identified so far - of course, each class will expand as the amount of data grows.

Classes M and N, which concern modulations, require a little more explana- tion, in that roman numerals refer not to harmonies founded on a particular scale- degree, but to an entire mode founded on that scale-degree. Thus, group MAA indicates a modulation downwards of one tone (Mixolydian degree I to degree VII) between two Ionian modes. Group MDD is more complex: it indicates a downward modulation of a major third (Aeolian degree I to degree VI) between two Aeolian modes, the latter mode then becoming Ionian. These classes do not attempt to specify chord sequences.

For present purposes, inversions have been omitted. (So, for instance, the notable pattern I root - I first inversion - IV root - V root appears simply as I-IV-V.) This is for three reasons. Firstly, to include inversions here would make the data too complex to handle. Secondly, there are few cases where the textural bass is neither a harmonic pitch, nor a passing-note, both of which are necessarily ignored from the point of view of classifying the basic pattern. Thirdly, one of the prime functions of inversions is to introduce variety: two of Paul McCartney's bass lines from Sgt. Pepper ... will illustrate. On 'A Little Help From My Friends', he attacks the verse's F# minor (third chord in each half of the verse) in a variety of different ways, including effectively changing inversions, without disturbing the harmony's identity. On 'Fixing a Hole', he alternates tonic and dominant pitches beneath a sequence essentially alternating tonic and subdominant harmonies, but the repetitive nature of his line dislocates it from the harpsichord's harmonic sequence, again without disturbing the pattern's identity at the centre of the song. A similar case is that of Abba's 'Name of the Game', classified in group GAJ (Ionian I-IV-V-IV), where the bass part suggests that the last chord be read as V11. In these and other similarly ambiguous cases, the harmonic layer in the centre of the texture has been deemed to have greater influence over the identification of the harmony than the, timbrally distinct, bass. In this way, ignoring inversions can highlight the role of the bass, and can enable identical harmonic patterns to be found underpinning markedly different songs. By no means can inversions be considered irrelevant.

Note must be made of the 'mode' system adopted for presentation. According to this system, instead of major and minor scales, each of seven modes disposes five tones and two semitones in a cyclically changing pattern, as follows:

Lydian TTTSTTS Ionian (equivalent to 'major') TTSTTTS Mixolydian TTSTTST Dorian TSTTTST Aeolian ('natural minor') TSTTSTT Phrygian STTTSTT Locrian STTSTTT

Other writers have suggested that popular music makes use of modes (as reported in Middleton, pp. 198, 200), but have not suggested the thoroughgoing adoption of



76 Allan Moore

a modal system. Note that I have added, for pragmatic reasons, a 'chromatic' mode (purely for class A) and a 'harmonic minor', i.e. Aeolian with semitonally- sharpened seventh degree. In the appendix, the modes are represented by letters as follows: F: Lydian; C: Ionian; G: Mixolydian; D: Dorian; A: Aeolian; E: Phrygian; B: Locrian; H: harmonic minor; X: chromatic. I make no proposal that songwriters use such a system, although many rock guitarists, at least, are accustomed to think in this way, as a perusal of any guitarists' magazine will substantiate. Its most obvious analytical benefit is one of clarity: there is no confusion regarding such things as whether the chord on the (common) flat sixth degree should be assumed major or minor. In a conventional C major, both readings are defensible. The system I have adopted finds harmonies rigidly within the modes named: signs denoting chromatic modal changes are applied specifically and are defined below. Note that I have tended to assume all harmonies to be triadic, unless every repetition of the pattern includes an added note. The benefits of clarity can particularly be observed with those patterns conventionally considered either major or minor, but with flattened seventh chord degree - they appear here as straightforwardly Mixolydian and Aeolian. Moreover, the identification of Phrygian and Lydian modes prevents the apparent obscurity associated with bII and #IV. There is nothing untoward in these functions.

The signs I have adopted for tetrachords derive from jazz theory (see e.g. Mehegan 1959). Reading from a root C: augmented seventh (CEGOB) is represented by +; major seventh (CEGB) by M; minor seventh large (CEbGB) by'; dominant seventh (CEGBb) by x; minor seventh (CEbGBb) by m; half-diminished seventh (CEbGbBb) by 0; diminished seventh (CEbF#A) by o. Chords superscripted by 4, 6 or 7 are strict modal additions of these scale-degrees to triads; superscript of T refers to an added sharpened fourth. I have also used superscripts to modify triad quality from that expected within the mode, as follows: major is represented by '; minor by -; augmented by "; diminished by =. In relation to jazz theory, it should be noted that common jazz substitutions (such as bII for V) have not been found. Substitu- tions are found, however, the commonest being for triads whose root is a modal third distant (i.e. III for V, or IV for II). Of course, substitutions as such can only be recognised where the basic pattern undergoes repetition.

Any system of classification has deficiencies, for raw data is never as neat as theory must consider it in order to perceive correspondencies within it. Some patterns which are similar to the ear may appear in vastly different places within the appendix. To overcome this in some small way, some patterns are cross- referenced to other, very similar, patterns, the group number for these latter appearing in brackets after the former.

Classification

This work provides some basic grounds for the consideration of popular harmonic practice prior to the identification of stylistic difference along the rock/pop/soul continuum. The very job of offering a means of classification for these sequences is long overdue. Hitherto, all that has been available have been the occasional unsystematic lists offered in relation to other arguments - see for example Gary Burns' discussion of harmonic patterns acting as hooks (Burns 1987). The method I have adopted here seems most economical, but it also raises certain issues, which are not subject to objective determination: I offer this material in the light of the




growing acceptance of Nicholas Cook's suggestion that analytical judgements are of necessity interpretations, rather than assertions of fact (Cook 1989).

In order to register, and almost by definition, a pattern has to be repeated. Note, therefore, that by no means all rock/pop/soul music uses harmonies to form repeated patterns: I shall deal elsewhere with those that do not. In many cases, I think immediate repetition is necessary, although some widely-used patterns, particularly those associated with cyclic progressions, seem sufficiently strong to be noted even if they are not repeated within a single verse (refrain, bridge). Even then, this list does not pretend to be exhaustive with reference to the songs chosen, but depends somewhat on the subjective response of an experienced and know- ledgeable listener (myself). If criticism is to be levelled here, it must be on the grounds that the listing may be considered incomplete.

Sheet music treats all chords as functionally equivalent, by specifying their names rather than their relationships. And yet, as ethnomusicologists tell us, there seems to be no musical system in which hierarchies of importance do not operate: even Arnold Schoenberg's infamous twelve-tone method admits of pitch hierarchies in practice (see Moore 1990, chap. 3). We need to remember that:

If there are important systems in the world that are complex without being hierarchic, they may to a considerable extent escape our observation and understanding. (Simon 1962, p. 477)

Therefore, sheet music nomenclature should not deafen us to the fact that hierarchical relationships exist, and these clearly must be predicated on the identification of a tonic. In classical tonal theory, pitch-collection (i.e. the identification of the major/minor scale in operation at any particular point) is the most commonly invoked criterion. But within a modal system, because the choice of tonic degree is arbitrary, such evidence is valueless. On what grounds can it then be decided that a particular harmony within a pattern is acting as a local tonic? (Throughout, I have identified the tonic of a pattern, not necessarily that of the song, since many songs modulate between modes.) The criteria that seem to operate are essentially those of metric, rhythmic and accentual modes of stress as developed by Jonathan Kramer (1988). Simply put, a tonic is likely to persist longer than temporally adjacent chords, is likely to begin or end a pattern (particularly coinciding with structural divisions in the lyrics), and is likely to receive an attack more emphasised (whether by simple accent, or by change of timbre or density) than that of its temporal neighbours. A difficult application of this technique is well exemplified by Simple Minds' 'Soul Crying Out' (from Street Fighting Years). Two alternative readings seem possible, either an Ionian IV-VI-V (which initially appears as V-IV-VI), or a Mixolydian VII-II-I. The first reading is of a strong preparation for a tonic, and would presumably find support among those with 'classical' ears. However, the I which it prepares occurs only ever in passing as part of the extended 'bridge' sequence, preceded by IV, and it is therefore not used as a point of arrival. Therefore, the second reading seems preferable.

A second problem is caused by the frequent use of the double appoggiatura and neighbour-notes, and can best be explored by way of examples. At the sim- plest level, Abba's 'Mama Mia' will stand for countless other cases (see Example 1). The refrain uses an Ionian I-IV pattern. This is repeated twice for the first half of the refrain, each chord lasting a nominal two bars. In the first two refrains, chord I presents no problem, but chord IV seems to begin inconclusively. Its structural



78 Allan Moore

arrival is on beat three of bar three, beat two containing a Mixolydian VII9, harmonising the main vocal pitch through the backing vocal, this chord then acting as a double appoggiatura to the third beat. The problem here is one of degree of importance. It seems extravagant to raise the status of a single-beat double appoggiatura to that of a chord: again, it is important to insist on the operation of levels of hierarchic structure. More usefully, Abba's 'Mama Mia' can be compared to Frederick Knight's 'I've been Lonely for so Long' (Example 2), which uses the same pattern and equivalent durations, but whose harmonic effect is very different, partly because of the absence of an appoggiatura here. My suggestion is that even this pair of examples allows us to argue strongly against the notion that these harmonic patterns are merely formulae. That is the least interesting aspect of them. Denial of this point would ultimately entail acceptance of the absurd notion that all common-practice tonal works were merely formulaic, because their backgrounds are formed by Schenkerian Urs~itze.

At the other extreme is the Plastic Ono Band's 'Happy Christmas War is Over'. This makes use of the cyclic Ionian I-II-V-I progression, which it repeats a further two times, at levels represented by the cyclic Mixolydian I-IV-VII progression. This seems such a striking example, that I have included it in the appendix under both categories. Here, it is clearly not extravagant to consider the former sequence to consist of chords. This is, however, the only example I have yet encountered of patterns embedded to quite such a high degree, and it can serve to limit the level at which this question needs raising.

Voice C I I r _J ( here I go a-gain_) ( how can I re-sist ya) Ma-ma mi-a t does it show a-gain_) My my ( just how much I miss'd ya

Backing vocal )v

Piano Tj

(absent till 3rd refrain) (varies slightly)

Bass RFF

(Xylophone omitted)

Example 1

Voice

I've been lo - nely for so long Don't seem like hap-pi - ness will come a - long

(function , scn i k oitd BassckingP

(Minute intonational inflections, second guitar and kit omitted)

Example 2




A third problem arises from the assumption that the functional unit throughout is the 'triad'. There are necessary limits to this assumption, which again can be best illustrated through examples. Cream's 'Sunshine of Your Love' represents the archetypal rock riff. It is used, however, to clearly outline a simple Dorian I-IV-I, forming the first eight bars of a twelve-bar blues pattern. The chords here are implicit, but nonetheless present. Thin Lizzy's 'Killer on the Loose' presents more of a problem, since some degree of triadic inference is necessary. As Example 3 shows, both guitar and bass outline a Mixolydian I-VII-VI, but the only confirmation is provided by an upper guitar pitch which appears considerably softer (and weaker). It seems to me that a triadic inference is justified here, but only just.

Guitar

Bass

Example 3

Guitar

Guitar

Bass W

Example 4

Talking Heads' 'There must be a Place' (from Speaking in Tongues) presents a different sort of problem, as outlined in Example 4. Heard alone, the bass would be likely to be construed as an Aeolian VII-I-VI-I. Neither guitar part supports this, and I have categorised it according to the middle guitar, which may be considered normative in register (hence, Ionian I-VI-IV-VI). The bass does not conflict with this, although the pattern now begins with a weak-sounding (second inversion) I. And yet, at the end of the track, the middle guitar begins to read this I as a double appoggiatura, supporting the Aeolian VII-I-VI-I. Such ambiguity is only possible within a repetitive framework, and serves to strengthen the conclusion that such musics' harmonic frameworks are used in anything but a formulaic manner, so making them of pure musical interest, before consideration of any other dimension.

Conclusions Within any seven-note mode, there are only four ways to continue harmonically: to remain in place, to move by step, to move by the interval of a third, or by that of a fourth. Remaining in place for any length leads to drone-based music, a common background in improvised rock, folk rock and acid soul. As class A shows, such lack of movement occurs not only beneath solos, but also throughout verses on many occasions, where such verses have a tendency toward pentatonic melodies. Four-stage stepwise patterns are not uncommon (all groups BBE- are variants of the 'flamenco' changes), but longer patterns tend to be more rare. Aside from stepwise alterations (i.e. I-II or I-VII), stepwise moves tend then to continue with other intervals. Patterns extending a mediant (third-based) move are rare when moving upwards, but more common moving downwards: group DBA- incorporates variants on the common 'Stand by me' changes. Again, mediant moves are often mixed with other intervals, and also occur as alternations. Here, patterns



80 Allan Moore

which alternate between two chords which cannot be found within the same mode (see groups DABd-DABg) tend to be particularly striking. Of all pattern types, those beginning with fourths are most numerous. Here, alternations abound, as do sequences beginning in this way and continuing with other intervals. However, patterns continuing further in cyclic fashion (i.e. around the cycle of fifths) are so numerous that I have classified them separately.

Throughout all these sequences, the difference between sharp-wise (up) and flat-wise (down) directions would seem to be fundamental. Middleton (1990, p. 200) notes that it can be argued that flat-wise moves (e.g. I-IV) traverse less 'distance' than their sharp-wise counterparts (e.g. I-V): in these particular examples this is because the tonic pitch is present in both I and IV, but is absent from V, which perhaps gives this pitch a status it fails to acquire in practice. Nonetheless, it is surely true both that flat-wise moves in general (whatever the mode) carry connotations of less tension than equivalent sharp-wise moves, and that modes lacking a sharpened seventh degree can carry similar connotations.

One important issue which this study may ultimately further is the status of a generative theory of rock/pop/soul harmony. Such theories have already been offered for both jazz (Steedman 1984; Perlman and Greenblatt 1981) and common- practice tonality (Keiler 1981; Lerdahl and Jackendoff 1983). Middleton has recently pursued this matter, directly applying Steedman's transformational rules (Steed- man 1984), and suggesting that all such transformational grammars may depend on the deepest principle, 'that of tonic/not-tonic differentiation' (Middleton 1990, p. 198). That may be so, and it would be valuable to try to apply it to the data gathered here. None the less, I feel that for rock at least, the rules of substitution would necessarily differ. It seems likely that rock sequences could be generated from fifth-cycles by (recursive) substitution of modal mediant-related chords and elisions of consecutive cyclic steps. Three simple examples can show this deriva- tion. The 'Stand by me' changes (sub-group DBA) generates I-VI-IV-V from I-I-IV- V through substitution of VI for I. Sub-group CBG generates I-II-IV-I from I-VII-IV- I through substitution of II for VII. Less simply, sub-group DBI generates I-VI-III- VII from I-I-V-VII-IV through the substitution of VI for I and the elision of VII-IV-I to VII-I.

This can also be pursued with relation to a more complex example: those patterns found in Def Leppard's 'Love Bites' (from Hysteria). Three patterns are employed: Ionian VI-II-V11-I9 for the verse, and Ionian I-IV-II-V and Aeolian I-VI- IV7-VII for the refrain. These patterns undergo relative transposition, to yield the sequence: d-g-C-F- (repeated) -Eb-Ab-F-Bb- (repeated) -C-Ab-F-Bb- (repeated) -d-g- etc. (where lower case represents minor triad). The first pattern is simply cyclic, the second is cyclic starting from its midpoint, such that its nature becomes clear as it is repeated, while the third is a transformation of the cyclic V-V-I-IV. The patterns are joined by elisions, such that transferring them to a single frame of reference (letting I = F) yields: VI-II-V-I -VII-III-I-IV -V-III-I-IV, derived from a cycle of fifths, i.e.: VI-II-V-I(-IV)-VII-III-I-IV(-II)-V- I-IV. It may be surmised that such elisions may be most common where separate patterns are conjoined. Of course, much further work remains to be done in this area, although it would seem that the assumption of a fifth-cyclic base may be more elegant than the simple tonic/not-tonic binary choice, and also more responsive to




hierarchical interpretation. The data published in the appendix should enable any such generative theory to be developed from a solid base. Any theory which took generative tonality as a model would seem immediately doomed to failure since rock/pop/soul music is formally strophic, and hence cyclic (we must return to the same chord with which we begin each verse) whereas classical tonality by its nature supports linearity. Moreover, to follow Schenker (1979), classical tonality tends towards polyphony, whereas rock/pop/soul tends to conceive its harmonies as indivisible units rarely subject to voice-leading principles.

And yet, the fact that such a study as this has not appeared sooner might suggest that perception, and even conception, frequently goes no further than the stringing together of a series of discrete harmonies, particularly oft-used suc- cessions of which act as Adorno's formulae (Adorno 1941). Many songwriters seem to accept this formulaic model of harmonic patterns. For instance, Matt Aitken, of the team Stock, Aitken and Waterman, said in a radio interview: If we're stuck for an idea we'll very often toss some chord sequences round and say maybe, what about that chord sequence on a ... Billy Joel number ... some old chord sequence, some old chestnut . .. and use that, and develop a song from that, because its very nice sometimes to get a firm base to start from ... Paul McCartney echoed this:

John and I ... were quite happy to nick things off people, because ... you start off with the nicked piece and it gets into the song . .. and when you've put it all together ... of course it does make something original. Simon Bates introduced the programme from which these quotes were taken by telling his audience that: It is not surprising that some songs sound familiar, as there are only twelve musical notes with which to write songs ... That's it, the sum total of the material any song-writer has to play with. (BBC Radio 1: 'Where there's a hit, there's a writ', 21 February 1989)

Aside from the fact that this gives pitch priority as the primary domain, an assumption which is probably misplaced with all primarily studio genres, the error of this belief lies in the concentration on pitch entities rather than relationships. The initial results from my survey suggest two seemingly paradoxical, but vital conclusions. Contrary to received opinion, there is a great variety of harmonic patterns used along the rock/pop/soul continuum (with a range at least as wide as that found in the foregrounds of common-practice tonality, although there they are not subject to the same tendency to continual repetition). This is not a music of limited resources, where everything potentially sounds like everything else. And yet, there seems to be no unambiguous harmonic differentiation between these styles, and so there are clear grounds for arguing that there is a single harmonic language for rock/pop/soul which, in turn, may serve to differentiate this music from jazz- derived popular musics. This is not to deny stylistic differentiation, merely to argue that it is chiefly played out in other domains, particularly those of rhythm, texture and production techniques. Indeed, Bruno Nettl suggests that the widespread use of what he considers a simplified form of Western harmony contributes greatly to the fears of those who decry the homogenisation of popular musics, but he goes on to argue that other elements combine in the intercultural mix to maintain separate stylistic identities. (Nettl 1985, p. 85)



82 Allan Moore

References Adorno, Theodor W. 1941. 'On popular music', Studies in Philosophy and Social Sciences, 9 Bums, Gary. 1987. 'A typology of "hooks" in popular records', Popular Music, 6/1 Cook, Nicholas. 1989. 'Music theory and "good comparison": a Viennese perspective', Journal of Music

Theory, 33/1 Keiler, Alan. 1981. 'Two views of musical semiotics' in The Sign in Music and Literature, ed. Wendy Steiner,

1981 (Texas) Kramer, Jonathan. 1988. The Time of Music (Collier-Macmillan) Lerdahl, Fred & Jackendoff, Ray. 1983. A Generative Theory of Tonal Music (Massachusetts) Mehegan, John. 1959. Jazz Improvisation (Watson-Guptill) Middleton, Richard. 1990. Studying Popular Music (Open University Press) Moore, Allan. 1990. On the Late Chamber Works of Roberto Gerhard, Ph.D. thesis, University of

Southampton Nettl, Bruno. 1985. The Western Impact on World Music (Schirmer) Perlman, Alan & Greenblatt, Daniel. 1981. 'Miles Davis meets Noam Chomsky: some observations on

jazz improvisation and language structure' in The Sign in Music and Literature, ed. Wendy Steiner, 1981 (Texas)

Schenker, Heinrich. 1979. Der freie Satz (trans. and ed. Ernst Oster), (Massachusetts) Simon, Herbert. 1962. 'The architecture of complexity', Proceedings of the American Philosophical Society,

106 Steedman, Mark. 1984. 'A generative grammar for jazz chord sequences', Music Psychology, 2/1

Appendix General key Modes: F: Lydian; C: Ionian; G: Mixolydian; D: Dorian; A: Aeolian; E: Phrygian; B:

Locrian; H: Harmonic minor; X: Chromatic Modifications of triad quality: Major'; Minor-; Augmented"; Diminished= Intrinsic non-triads:

Strict modal additions/suspensions: 4; 6; 7 Chromatic suspensions: W4T Chromatic added sevenths as per jazz theory i.e. Aug+; MajM; Min large'; Domx; Minm; Half dim0; Dimo

Note that IIIN; VNII; VII/II; II/IV; and IVNI are frequently interchangeable within repetitions of the same pattern. Occasionally, VI/I, I/III and IIN are found too. Jazz substitutions (e.g. bII for V) are exceedingly rare.

Letters in brackets after a sequence indicates a cross-reference to a closely related pattern.

The alphabetic code (extreme left-hand side) is explained in the text.

Class A: Static harmony AAa. F: Solo Led Zeppelin: Dancing days; Mahavishnu Orchestra: Sister Andrea AAb. G: Solo Derek & Dominos: Tell the truth; Move: Omnibus; Pink Floyd: Obscured

by clouds; Johnny Winter: Funky music AAc. A: Solo Doors: Riders on the storm; Echo & Bunnymen: Higher hell; Fleetwood

Mac: Gold dust woman; Jimi Hendrix: Spanish castle magic; Voodoo chile; King Crimson: Requiem; Plastic Ono Band: Cold Turkey; Roxy Music: Stronger through the years; Santana: La fuente del ritmo; Uriah Heep: Gypsy

ABa. C: Verse Elvis Costello: Big boys; Living in paradise; Peter Gabriel: Rhythm of the heat; Talking Heads: Moon rocks; Swamp




ABb. G: Verse Creedence Clearwater Revival: Commotion; Def Leppard: Pour some sugar on me; Doors: Roadhouse blues; Echo & Bunnymen: Heads will roll; Led Zeppelin: Celebration day; Nazareth: My white bicycle; U2: Wine

ABc. D: Verse Beatles: Love you too; Big Country: The seer; Eric Clapton: Get ready; Creedence Clearwater Revival: Run through the jungle; Marvin Gaye: Right on; Icicle Works: Everybody loves to play the fool; Level 42: Coup d'etat; Steve Miller band: Out of the night; Pink Floyd: Money; Simple Minds: Careful in career

ABd. A: Verse Doors: L. A. woman; Not to touch the earth; Echo & Bunnymen: Ripeness; Fleetwood Mac: Green Manalishi; Oh well; Juicy Lucy: Who do you love; King Crimson: 21st century schizoid man; Led Zeppelin: No quarter; Steve Miller band: Fly like an eagle; Roxy Music: The bogus man; Sam & Dave: Soul man; Simple Minds: League of nations; Rufus Thomas: Funky chicken; Talking Heads: Girlfriend is better; Slippery people

AC. G: Refrain Talking Heads: Take me to the river AD. A: Refrain Beatles: All you need is love; Talking Heads: I get wild/wild gravity BA. C: 3 steps desc.(DABa) Kinks: Well-respected man; Santana: All the love of the

universe BB. C: 4 steps desc.(FAJa) Beatles: For no one; Kinks: Sunny afternoon; Meat Loaf: Bat

out of hell; Mott the Hoople: All the young dudes; Who: Pictures of Lily BC. G: 4 steps desc. Sparks: This town ain't big enough BD. C: 5 steps desc. Abba: One of us; Band: The weight; Beatles: Hello goodbye;

Moody Blues: Go now; Tears for Fears: Seeds of love BE. C: 6 steps desc. John Lennon: Mind games BF. C: 7 steps desc. Elvis Costello: Oliver's army; Procol Harum: Whiter shade of pale BG. X: 5 steps desc. Led Zeppelin: Stairway to heaven BH. X: 6 steps desc. Pink Floyd: Wots ... uh the deal CA. D: I7-I6 Level 42: World machine

Class B: Stepwise descending harmony AA. C: I-Ix-IV-IV--I-II'-IV-V Foundations: Baby now that I've found you AB. A: I-Im-VI-V Four Tops: Standing in the shadows of love AC. C: I-Ix-VI-IV-II4-V Topo D. Bil: Witchi tai to AD. C: I-Ix-VI'-II Supremes: Baby love AE. A: I'-Ix-?VI--VI-VII-III-V'-I After the fire: Laser love BAa. G: I-VII Bangles: Tell me; David Bowie: Fashion; Golden years; Scary monsters;

Win; Eric Clapton: Let it rain; Lonesome & a long way from home; Doors: Break on through; Hello I love you; The Fall: Gut of the quantifier; Gerry & Pacemakers: Ferry cross the Mersey; Jam: All around the world; Jethro Tull: Old ghosts; Led Zeppelin: Achilles last stand; Madness: Keep moving; Gary Moore: Law of the jungle; Shapes of things; R.E.O. Speedwagon: Movin'; Siouxsie & Banshees: Hong Kong garden; Stone Roses: She bangs the drums; Supertramp: Dreamer; T'Pau: Taking time out; Talking Heads: Burning down the house; Making flippy floppy; Uriah Heep: Dreammare; Van Halen: Dancing in the street; Where have all the good times gone?; Who: My generation; Wishbone Ash: Blowin' free; Time was; Stevie Wonder: Uptight

BAb. A: I-VII (CJAb) Barclay James Harvest: Medicine man; Eric Burdon: When I was young; Deacon Blue: One hundred things; Echo & Bunnymen: Higher hell; In bluer skies; Fleetwood Mac: Isn't it midnight; Jethro Tull: Flying dutchman;



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Kinks: Till the end of the day; Mission: Wasteland; Roxy Music: Sea breezes; Santana: Every step of the way; R. Dean Taylor: Gotta see Jane; U2: Bullet the blue sky

BAc. E: I-VII Doors: Not to touch the earth; Echo & Bunnymen: Porcupine; Pink Floyd: Hey you

BBa. G: I- VII'-VII-VI' Wedding Present: Getting nowhere fast BBb. G: I-#VII-VII-IV Automatic Man: My pearl BC. G: I-VII-III' Jethro Tull: Batteries not included BDa. G: I-VII-VI Mission: Stay with me; Toyah: Bird in flight; Johnny Winter: Nothing

left BDb. A: I-VII-VI All About Eve: December; Tuesday's child; Barclay James Harvest:

For no one; Mockingbird; Summer soldier; Big Country: East of Eden; Flame of the west; David Bowie: Ziggy Stardust; Blue Oyster Cult: Don't fear the reaper; Phil Collins: Another day in paradise; In the air tonight; Elvis Costello: I don't want to go to Chelsea; Fleetwood Mac: Big love; Tango in the night; You make loving fun; Peter Gabriel: Down the dolce vita; Jimi Hendrix: All along the watchtower; Level 42: I sleep on my heart; Mission: Love me to death; Severina; Gary Moore: Hiroshima; Chris Rea: You must be evil; Slade: Shape of things to come; Thin Lizzy: Don't believe a word; Toto: Angela; Uriah Heep: Come away Melinda; Wishbone Ash: Sometime world

BDc. E: I-VII-VI Isaac Hayes: Theme from 'Shaft' BDd. A: I'-VII-VI Boomtown Rats: The normal people; Madness: Samantha; Motor-

head: Overkill; Supremes: You keep me hanging on BEa. A: I-VII-VI-V Barclay James Harvest: After the day; Peter Gabriel: Games without

frontiers; Al Stewart: Broadway hotel BEb. A: I'-VII-VI-V' Four Tops: Bernadette; Ventures: Walk don't run BEc. G: I-VII-VI-V' Pink Floyd: Matilda mother; Uriah Heep: Circle of hands; Vapors:

Waiting for the weekend BEd. A: I-VII-VI-V' Herb Alpert: Jerusalem; Animals: Don't let me be misunderstood;

Beatles: I'll be back; David Bowie: Moonage daydream; Ray Charles: Hit the road Jack; Louis Jordan: Is you is or is you ain't my baby; Gary Moore: Hold on to love; Gene Pitney: Something's gotten hold of my heart; Roxy Music: If there is something; Del Shannon: Runaway; Status Quo: Gerdundula; Stone Roses: Made of stone; Supremes: Love child; Turtles: Happy together; Zager & Evans: In the year 2525

BEe. E: I-VII-VI-V' Stevie Wonder: Jesus children of America BEf. G: I-VII-VI-bVI'-V' Madness: Victoria Gardens BEg. A: I'-VII-VI-V' Who: Pinball wizard BEh. C: I-VII--VI-V-IV-III-II-V Fine Young Cannibals: As hard as it is BF. D: I-VII-VI--#VII Jam: Beat surrender BGa. A: I-VII-VI-IV Eagles: One of these nights; Mission: Deliverance BGb. G: I-VII-VI-IV-V' Orchestral Manoeuvres: Dreaming BH. A: I-VII-VI-III-V' Derek & Dominos: Why does love got to be so sad BI. E: I-VII'-VI-III-II-I Moody Blues: Nights in white satin BJa. G: I-VII-V' Elvis Costello: Moods for moderns; Roxy Music: Editions of you BJb. A: I-VII-V' Elvis Costello: I'm not angry BJc. H: I-VII'-V Roxy Music: Chance meeting BKa. D: I-VII-bV'-VI' Toyah: Tribal look BKb. G: I-VII-V'-VI' David Bowie: Red sails




BLa. G: I-VII-V'-IV Gerry Rafferty: Baker Street; Roxy Music: Ladytron BLb. G: I-VII-V'-IV-V'-I Led Zeppelin: The ocean BMa. A: I-VII-V-I Big Country: The red fox BMb. A: I-VII-V'-I Barclay James Harvest: Crazy city; Genesis: Eleventh earl of Mar;

George Harrison: Hear me lord; Madness: The blue-skinned beast BNa. G: I-VII-IV-VII (HCAa&GBKa) John Farnham: You're the voice; Meters:

Chicken strut BNb. A: I-VII-IV-VII Sheila Walsh: Under the gun BO. A: I-VII-IV-VI-V All About Eve: Only one reason BPa. G: I-VII-IV-V Elvis Costello: Sunday's best; Marvin Gaye: Wholy holy BPb. A: I-VII-IV-V' King Crimson: Epitaph BQa. D: I'-VII-IV-III Toyah: Visions BQb. A: I-VII-IV'-III Mission: Blood brother BR. D: I-VII-III-IV Nik Kershaw: The riddle BSa. A: I'-VII-II--VI Toyah: Race through space BSb. E: I-VII'-II-VI-VII' Fine Young Cannibals: Ever fallen in love BT. A: I'-VII-I'-VI-IV'-VII Peter Gabriel: Modern love CA. E: I-VI-III-IV-III-II Peter Gabriel: I don't remember DA. A: I-V'-VII-VI-III Rolling Stones: Angie DB. G: I-V-VII-IV (FAQ) Bob Dylan: Lay lady lay DC. G: I-V'-VII-II-IV--I Four Tops: Walk away Renee DD. C: I-V-VI A-Ha: Take on me; Beatles: All you need is love DE. C: I-V-VI-V-IV-V-I Percy Sledge: When a man loves a woman; Van der Graaf

Generator: Refugees DF. C: I-V-VI-V-III'-VI Peter Gabriel: Here comes the flood DG. C: I-V-VI-I-IV Doc Browne: Piano man; Simon & Garfunkel: America DH. C: I-V-VI-I-IV-II-V Elvis Costello: There's no action EA. C: I-V-Ix-IV-IV--I-IIx-V Carpenters: Goodbye to love FA. A: I'-II--VII-I-VI-VII--I Beach Boys: California girls GAa. C: II-I Phil Collins: If leaving me is easy; John Lennon: Power to the people; Tina

Turner: I don't wanna lose you GAb. E: II-I Phil Collins: If leaving me is easy; Siouxsie & Banshees: Christine; Johnny

Winter: No time to live GB. D: II--I-V-IV- Deep Purple: Hard lovin' man HA. D: III-II-I' XTC: The meeting place IAa. C: IV-III-II-I George Harrison: Awaiting on you all IAb. C: IV-III'-II'-I Talking Heads: Warning sign JA. C: IV-I-V-IV Peter Gabriel: San Jacinto KA. C: Vx-I-II-I Eric Clapton: Another ticket LA. C: VI-V-IV-I Big Country: Chance; Arthur Conley: Sweet soul music; Thin Lizzy:

Dancing in the moonlight LB. A: #VI--VI-I-VII Kinks: Dead End Street MA. C: V-IV-II-I Byrds: Mr Spaceman MB. C: V-bV-IV-III'-bIII'-II'-I Pink Floyd: Intersteller (sic) overdrive NA. G: VII-II-I Simple Minds: Soul crying out NB. G: VII-VI-I Supertramp: Hide in your shell; Who: Let's see action NC. A: VII-bVII'-VI-V'-I Jimi Hendrix: Spanish castle magic



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Class C: Stepwise ascending harmony AA. C: Io-I Peter Hammill: Sunshine AB. E: I-I/-Im-I6-II Stevie Wonder: Golden lady ACa. C: I-I"-VI-I" Crickets: Don't ever change ACb. C: I-I"-VI-Ix-IV David Bowie: Never let me down; Led Zeppelin: The rain song BAa. F: I-II Fleetwood Mac: Dreams; Mission: Let sleeping dogs lie; Stevie Wonder:

Don't you worry 'bout a thing BAb. C: I-II Deacon Blue: Silhouette; Madness: In the rain; Wham: Wake me up before

you go-go BAc. D: I-II Stevie Wonder: Visions BAd. E: I-II Madness: Are you coming; Shadow of fear; Pink Floyd: The trial; Talking

Heads: I get wild/wild gravity BAe. A: I-IIo Specials: Ghost town BAf. E: I'-II Jefferson Airplane: White rabbit BAg. B: I'-II David Bowie: Yassassin BAh. F: I-II-II Beatles: I want to tell you BAi. G: I-II'-II-IV--V' Electric Light Orchestra: Turn to stone BB. F: I-II-III' Who: See me feel me BCa. E: I-II-III-II Van Morrison: Who was that masked man; Toyah: Victims of the

riddle BCb. C: I-II-III-II-IV Beatles: I'm only sleeping BDa. C: I-II-III-IV Beatles: Here there & everywhere BDb. D: I-II-III-IV Deacon Blue: The world is lit by lightning BDc. F: I-II--III-IV- Stevie Wonder: Golden lady BDd. E: I'-II-III-IV' Van der Graaf Generator: Darkness BDe. C: I-II-III-IV-V Band: I shall be released BDf. C: I-II-III-V Orchestral Manoeuvres: Dreaming; Pink Floyd: In the flesh? BEa. C: I-II'-III'-VI-IV-V-I Isley Brothers: Put yourself in my place BEb. A: I-II'- III'-VII Motorhead: Metropolis BFa. C: I-II-IV Thin Lizzy: The boys are back in town BFb. A: I-II'-IV Move: Blackberry Way BGa. C: I-II-IV-I Beatles: And your bird can sing; Genesis: Your own special way;

George Harrison: All things must pass; Rod Stewart: Maggie May BGb. D: I-II-IV-I Santana: Just in time to see the sun BGc. C: I-II'-IV-I Beatles: Eight days a week; Eric Clapton: Another ticket; George

Harrison: Isn't a pity; Let it down; Jam: Butterfly collector; English rose; Move: Brontosaurus; Pink Floyd: Brain damage; Procol Harum: Homburg; Roxy Music: Beauty queen; Vapors: Trains; Van der Graaf Generator: Whatever would Robert have said?

BGd. C: I-II'-IV--I Marvin Gaye & Tammi Terrell: You're all I need to get by BHa. C: I-II-IV-V Be-Bop Deluxe: Ships in the night; David Bowie: Young Americans;

Jam: Away from the numbers; Billy Joel: Leningrad; Maria McKee: Show me heaven; XTC: Sacrificial bonfire

BHb. C: I-II'-IV-V Talking Heads: The big country BHc. C: I-II'-IV-V-I Bonzo Dog Band: I'm the urban spaceman; Eric Burdon: Its my

life; Eric Clapton: Lovin' you lovin' me; Equals: Viva Bobby Joe; Roxy Music: Would you believe?; Vapors: Cold war

BI. E: I'-II-IV'-VII'-bV'-VI Pink Floyd: Lucifer Sam




BJ. F: I-II-V-I Byrds: Mr Spaceman BK. C: I-II'-V-IV Kinks: You really got me BL. A: I'-II'-VI David Bowie: Boys keep swinging BMa. G: I-II-VII Deacon Blue: Fergus sings the blues BMb. G: I-II-VII-I Genesis: Afterglow; The might be giants: Whistling in the dark BN. G: I-II-VII-V Be-Bop Deluxe: Heavenly homes CAa. A: I-V-VI-VII Toto: Hold the line CAb. G: I-V'-VI-VII Jimi Hendrix: Bold as love DAa. A: I-VI-VII (CIAb) David Bowie: Panic in Detroit; Phil Collins: The roof is

leaking; Derek & Dominos: Layla; Dire Straits: Sultans of swing; Fleetwood Mac: Go your own way; Oh well; Jethro Tull: Pussy willow; Paul McCartney: Ou est le soleil; Gary Moore: Victims of the future; Graham Parker: Stick to me; Siouxsie & Banshees: The staircase (mystery)

DAb. D: I'-VI--VII Move: Wild tiger woman DAc. A: I'-VI-VII Jam: News of the world EAa. C: II-I-LV Martha Reeves: Jimmy Mack EAb. C: II-I-IV-V Peter Gabriel: Slowburn EAc. A: II--I-IV-V'-VI-VII-I Peter Gabriel: Waiting for the big one EBa. C: II-III-IV-V-I Tears for Fears: Everybody wants to rule the world; Wham: Wake

me up before you go-go EBb. C: II'-III'-IV-V-I They might be giants: We want a rock ECa. C: II-IV-I Bon Jovi: I'll be there for you; Emerson Lake & Palmer: Lucky man ECb. C: II'-IV-I Led Zeppelin: Bron-y-aur stomp; John Lennon: Whatever gets you

through the night ED. C: II-V-VI-VII--I-II-III' Simple Minds: Street fighting years FA. C: III-I-VI-VII-I Kinks: Set me free FB. A: III-VI'-VI-VII-I' Who: I can see for miles FC. A: III-VI-VII-I Vapors: Bunkers GA. A: IV'-III-VI-VII-I' Gentle Giant: Rock climber GB. A: IV'-VI-VII-I' Abba: SOS IAa. G: VI-VII-I Police: Next to you IAb. A: VI-VII-I (CDAa) Abba: Gimme gimme gimme; Summer night city; ABC: The

look of love; Asia: Sole survivor; Beatles: I am the walrus; Bon Jovi: Born to be my baby; Wild is the wind; Eric Clapton: I can't stand it; Elvis Costello: The beat; Deacon Blue: The world is lit by lightning; Deep Purple: Child in time; Livin' wreck; Def Leppard: Women; Fleetwood Mac: Caroline; Isn't it midnight; Peter Gabriel: Intruder; Gang of Four: Return the gift; Jimi Hendrix: Voodoo chile; Jam: Eton rifles; Jethro Tull: Crossfire; Orion; Something's on the move; Madness: Mr Speaker gets the word; Gary Moore: Law of the jungle; R.E.O. Speedwagon: Ridin' the storm out; Sad Cafe: Black Rose; Simple Minds: Sound in 70 cities; Wall of love; Siouxsie & Banshees: The staircase (mystery); Rod Stewart: Reason to believe; Toto: Georgy porgy; Tina Turner: Foreign affair; Uriah Heep: Walking in your shadow; Sheila Walsh: Thief in the night; Johnny Winter: Rock & roll hoochie koo

IAc. A: VI-VII-I' Beatles: Lady Madonna; Level 42: Something about you; Pet Shop Boys: West end girls; Roxy Music: Chance meeting; Secret Affair: Time for action; T. Rex: Telegram Sam; Talking Heads: Artists only; Stevie Wonder: I was made to love her

JAa. G: VII-I Beatles: Tomorrow never knows; Doors: L.A. woman; Bryan Ferry: The



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'in' crowd; Fleetwood Mac: Family Man; Led Zeppelin: Hots on for nowhere; Steve Miller band: Shangri-La; Nashville Teens: Tobacco Road; T'Pau: Taking time out

JAb. A: VII-I (BBAb) Emerson Lake & Palmer: Touch & go; Fairport Convention: Matty Groves; Peter Gabriel: Shock the monkey; Jethro Tull: Working John working Joe; King Crimson: 21st century schizoid man; Led Zeppelin: Immigrant song; Gary Moore: Nuclear attack; Chris Rea: You must be evil; Roxy Music: For your pleasure

JAc. C: VII'-I- Jimi Hendrix: One rainy wish JAd. G: VII--I Madness: New Delhi

Class D: Submediant sequences AAa. A: I-bI'-VI- Roxy Music: Chance meeting AAb. C: I-M-VI George Harrison: Ballad of Sir Frankie Crisp AAc. A: I'-Ix-VI-V' Pink Floyd: Eclipse ABa. C: I-VI Boomtown Rats: Living in an island; Elvis Costello: Miracle man; You

belong to me; Derek & Dominos: Why does love got to be so sad; George Harrison: Awaiting on you all; My sweet lord; Buddy Holly: Maybe baby; Jam: When you're young; John Lennon: Instant karma!; Little Eva: Locomotion; Melanie: Ring the living bell; Steve Miller band: Bongo bongo; Monkees: Goin' down; Searchers: Don't throw your love away; Paul Simon: Slip slidin' away; Small Faces: Itchycoo Park; They might be giants: Sapphire bullets of pure love; Vapors: Turning Japanese

ABb. A: I-VI Beatles: Eleanor Rigby; Boomtown Rats: Can't stop; Like clockwork; Living in an island; Rat trap; Cure: Love cats; Tha Fall: My new house; Fleet- wood Mac: Rhiannon; Led Zeppelin: Achilles last stand; Madness: You said; Marillion: Script for a jester's tear; Police: Message in a bottle; Truth hits everybody; Procol Harum: Conquistador; Roxy Music: Strictly confidential; Siouxsie & Banshees: Arabian nights; Supertramp: Asylum; Crime of the century; U2: Exit; Vapors: Bunkers; Wishbone Ash: Warrior

ABc. E: I-VI U2: Indian summer sky ABd.D: I-VIm Doors: Light my fire ABe. A: I-VIM Olivia Newton-John: Let's get physical; Procol Harum: Conquistador ABf. A: I-VI- King Crimson: Heartbeat ABg. A: I'-VI David Bowie: Suffragette city; Family: In my own time; Led Zeppelin:

Candy store rock; Transvision Vamp: Down on you AC. G: I-VI-VII-V Jam: Absolute beginners; Level 42: Something about you ADa. C: I-VI-VII-IV Thompson Twins: Hold me now ADb. A: I-VI-VII-IV Police: Message in a bottle; Simple Minds: Take a step back AE. A: I-VI-VII-III Smiths: Still ill AF. C: I-VI-bVI-IV Roxy Music: Ain't that so AGa. C: I-VI-V Big Country: Tall ships go; Elvis Costello: Hand in hand; Lip service;

Foundations: Born to live & born to die; Buddy Holly: Maybe baby; Orchestral Manoeuvres: So in love; Thin Lizzy: Wild one; Vapors: Waiting for the weekend

AGb. A: I'-VIx-V' Billy Joel: Storm front AGc. H: I-VI-V Peter Gabriel: No self control; Peter Hammill: Sunshine; George Har-

rison: Art of dying; Jam: Precious; Madness: Mr Speaker gets the word; Chris Rea: I just want to be with you; Toto: Takin' it back




AH. A: I'-VI-V'-VII-bV'-IV' Madness; Michael Caine AI. C: I-VI-V-VI Clash: Something about England AJa. C: I-VI-V-IV Fine Young Cannibals: Tell me what AJb. C: I-VI-V"-IV Pink Floyd: Us & them AK. F: I-VI'-V-II Beatles: Dr Robert AL. A: I-VI-IV Abba: Voulez-vous; Jethro Tull: Rock island; Gary Moore: Hiroshima;

Neil Young: Southern man AMa. G: I-VI-IV-VII Jam: That's entertainment AMb. A: I-VI-IV-VII Bangles: He's got a secret; Def Leppard: Love bites; Gary Moore:

Run to your mama ANa. C: I-VI-IV-VII Mission: And the dance goes on; Talking Heads: This must be the

place ANb. A: I-VI-IV'-VII-V' Blondie: Atomic BAa. C: I-VI-IV-V (FDD&IADa) Abba: Mama mia; Paul Anka: Diana; Arrival: Friends;

Beatles: Any time at all; I should have known better; Beautiful South: I'll sail this ship alone; Song for whoever; Bon Jovi: I'll be there for you; Ride cowboy ride; David Bowie: Ashes to ashes; Cygnet committee; James Brown: Try me; Johnny Burnette: Dreamin'; Elvis Costello: The beat; Creedence Clearwater Revival: Lodi; Deacon Blue: Circus lights; Love & regret; Diamonds: Little darling; Four Tops: Walk away Renee; Marvin Gaye: Mercy mercy me; What's going on; Gentle Giant: No stranger; Gerry & Pacemakers: I like it; George Harrison: Run of the mill; Whitney Houston: I wanna dance with somebody; Isley Brothers: I guess I'll always love you; Jam: In the city; Man in the corner shop; Strange town; Billy Joel: Storm front; Ben E. King: Stand by me; Led Zeppelin: D'yer mak'er; Frankie Lymon: I'm not a juvenile delinquent; Why do fools fall in love; Meat Loaf: For crying out loud; Nazareth: Love hurts; Orchestral Manoeuvres: Enola Gay; If you leave; Pink Floyd: The thin ice; Elvis Presley: Return to sender; Pretenders: So special; Queen: Somebody to love; Righteous Brothers: Unchained melody; Roxy Music: Bitters end; Dance away; Del Shannon: Runaway; Simon & Garfunkel: Mrs Robinson; They might be giants: Lucky ball & chain; Tina Turner: The best; Van Halen: Pretty woman; Bobby Vee: Rubber ball; Take good care of my baby; Marty Wilde: Donna; Stevie Wonder: I'm wondering

BAb. A: I-VI-IV-V Gary Moore: Rest in peace BAc. A: I-VI-IV-V' All About Eve: Dream now BBa. C: I-VI-IV-III Mission: Butterfly on a wheel; Spandau Ballet: True BBb. C: I-VI-IV-III Emerson Lake & Palmer: Lay down your guns BBc. C: IbVI-IV-III Adam & Ants: Ant music BC. C: I-VI-IV-II-V Beach Boys: Darlin'; Electric Light Orchestra: Wild west hero; Peter

Gabriel: Solsbury Hill BDa. C: I-VI-IV-I David Bowie: Oh you pretty things; Soul love; Eric Clapton: Let it

grow; Creedence Clearwater Revival: Looking out my back door; Roxy Music: Sea breezes; Rod Stewart: Sailing; Thin Lizzy: Whisky in the jar; Vapors: Letter from Hiro

BDb. A: I-VI-IV-I Elvis Costello: Lipstick vogue BDc. C: I-VI-IV--I-V Beatles: Any time at all BE. A: I-VI-III-VI Big Country: The teacher BFa. C: I-VI-III-V Beatles: She loves you; David Bowie: Starman; Family: No mule's

fool BFb. A: I-VI-III-V Alice Cooper: Poison



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BFc. C: I-VI-III'-V David Bowie: Prettiest star BG. C: I-VI-III-IV-V Tina Turner: I don't wanna lose you BH. E: I"-VI-III-II-I-V--V' Barclay James Harvest: Summer soldier BI. A: I-VI-III-VII (HHA) Beautiful South: From under the covers; Emerson Lake &

Powell: Love blind; Orchestral Manoeuvres: Electricity BJ. E: I-VIT-IIw Led Zeppelin: No quarter BKa. C: I-VI-II'-IV David Bowie: Five years BKb. C: I-VI'-II'-IV George Harrison: I dig love CA. A: I-VI-IV-III-VII Procol Harum: The milk of human kindness DA. E: VI-V--II-I Fleetwood Mac: Mystified DB. G: bVI-V-I-IV (FAN) Electric Light Orchestra: The whale EA. A: VI-IV-VII-I (FGA) Big Country: Just a shadow EB. A: VI-IV-I-V (FAHb) Eric Clapton: Hold me Lord ECa. C: VI-IV-I Meters: Pocky-a-way; Police: Truth hits everybody; Simple Minds:

The American ECb. A: VI-IV-I Barclay James Harvest: Paper wings; Bob Dylan: Slow train coming FA. C: VI-III'-V-I Procol Harum: Rambling on GA. C: VI-I-V-IV Big Country: Hold the heart GB. A: VI-I-II-III Nik Kershaw: City of angels GCa. C: VI-I Big Country: Fields of fire GCb. A: VI-I Big Country: Look away; Peter Gabriel: I have the touch; Steve Miller

band: Italian X-Rays; Mission: Garden of delight; Talking Heads: Pull up the roots

GCc. C: VI'-I David Bowie: Rock 'n' roll suicide GCd. A: VIT-I Peter Hammill: Solitude GCe. A: VI-I' George Harrison: Let it down

Class E: Mediant sequences

AAa. F: I-III Barclay James Harvest: She said AAb. A: I-III Echo & Bunnymen: Ripeness; Pink Floyd: Pow R. Toc H.; Smiths: Pretty

girls make graves; Staple Singers: Respect yourself; Uriah Heep: Easy living AAc. C: I-III' Bangles: More than meets the eye AAd. A: I'-III Talking Heads: Take me to the river; Uriah Heep: Paradise ABa. C: I-III-I-IV-V Elvis Costello: Red shoes ABb. C: I-III'-I-IV Small Faces: Itchycoo Park ACa. G: I-III'-II'-II-V'-VII George Harrison: Wah wah ACb. A: I-III-II'-bII' Madness: Time for tea ADa. D: I-III-II-IV Roxy Music: In every dreamhome a heartache; Wishbone Ash: The

king will come ADb. D: I-III-II'-IV Gary Moore: Murder in the skies ADc. F: I-III'-II-V Beautiful South: I love you (but you're boring) AEa. C: I-III-IV David Bowie: Rock 'n' roll with me; Icicle Works: Sweet Thursday;

Move: Blackberry Way AEb. D: I-III-IV Booker T & MGs: Green onions; Eric Clapton: After midnight; Jimi

Hendrix: Wait until tomorrow; Mission: Sacrilege; Queen: Another one bites the dust; Stevie Wonder: Higher ground; Z.Z. Top: La grange

AEc. A: I-III-IV Smiths: What difference does it make?; Supertramp: Bloody well right; Wishbone Ash: Leaf & stream




AEd. D: I'-III-IV Jeff Beck: Beck's bolero; Canned Heat: On the road again; Billy Joel: That's not her style; Led Zeppelin: Bron-y-aur stomp; Candy store rock; Chris Rea: Your warm & tender love; Tina Turner: Steamy windows; Johnny Winter: Rock & roll hoochie koo

AFa. C: I-III-IV-I Band: The weight AFb. C: I-III'-IV-I Johnny Burnette: You're sixteen; Pink Floyd: Nobody home AFc. C: I-III-IV-I-V Dexy's Midnight Runners: Come on Eileen AGa. C: I-III-IV-II Band: In a station AGb. C: I-III'-IV-II' Otis Redding: Dock of the bay AGc. D: I'-III-IV-II-IV-V' Who: I'm free AH. D: I-III-IV-IV- Yardbirds: For your love AIa. C: I-III-IV-V (GAHa&ICCa) Abba: Knowing me knowing you; Beach Boys: I can

hear music; David Bowie: Ziggy Stardust; Eric Clapton: Easy now; Elvis Costello: Oliver's army; Housemartins: Happy hour; Jam: Down in the tube station at midnight; Going underground; Manfred Mann: Just like a woman; Marmalade: Baby make it soon; Thin Lizzy: Waiting for an alibi; Tina Turner: Be tender with me baby

AIb. D: I-III-IV-V' Motorhead: Pay your price AIc. A: I-III-IV-V Duran Duran: Save a prayer AId. C: I-III'-IV-V Johnny Winter: Ain't that a kindness AIe. A: I-III-IV'-V Barclay James Harvest: Crazy city AIf. A: I-III-IV'-bV' Madness: Baggy trousers AIg. C: I-III'-IV-V-VI David Bowie: Rock 'n' roll suicide AJa. A: I-III-IV'-VI (B) Animals: House of the rising sun; Electric Light Orchestra:

Standin' in the rain; Johnny Winter: Let the music play AJb. D: I'-III-IV-VI Talking Heads: The good thing AJc. A: I'-III-IV'-VI-VII-I' Beatles: I am the walrus; Meters: I need more time AJd. A: I-III-IV'-VI-VII Cream: White room; Slade: Shape of things to come AKa. C: I-III'-IV-VII'-I Icicle Works: Travelling chess AKb. D: I'-III-IV-VII-V' Jimi Hendrix: Ain't no telling BA. A: I-III-V Abba: Gimme gimme gimme; Herman's Hermits: No milk today BBa. A: I-III-V-IV Fine Young Cannibals: Good thing BBb. A: I-III-V-VI Simple Minds: Let it all come down BC. C: I-III-VI Big Country: Flame of the west; Culture Club: Do you really want to

hurt me; John Lennon: Instant karma! BDa. C: I-III-VI-Ix-IV-II-V Marmalade: Reflections of my life BDb. C: I-III'-VI-Ix-IV-IV--I (IPA) John Lennon: Woman is the nigger of the world BDc. C: I-III'-VI-I-IV-V Derek & Dominos: Bell-bottom blues BE. E: I-III-VI-II Beatles: Things we said today BF.C: I-III-VI-III Berlin: Take my breath away BGa. C: I-III-VI-IV Isley Brothers: This old heart of mine; Jimmy Ruffin: What becomes

of the brokenhearted BGb. C: I-III'-VI-IV Electric Light Orchestra: Jungle BGc. C: I-III'-VI'-IV They might be giants: Road movie to Berlin BGd. A: I-III-VI-IV' Neil Young: Southern man BHa. C: I-III-VI-V Fine Young Cannibals: It's ok; George Harrison: Awaiting on you all BHb. A: I-III-VI-V' Siouxsie & Banshees: Happy house BIa. A: I-III-VI-VII Fleetwood Mac: Little lies Bib. G: I-III-VI-VII Toto: Rockmaker



92 Allan Moore

BJa. D: I-III-VII Wishbone Ash: The king will come BJb. A: I-III-VII David Bowie: Wild is the wind; Pink Floyd: Time; Supertramp: Bloody

well right BJc. A: I'-III-VII Boomtown Rats: The normal people; Roxy Music: For your pleasure;

Re-make/re-model BKa. A: I-III-VII-I Big Country: Lost patrol; Remembrance day; Dead & Alive: You

spin me round; Melanie: Stop I don't wanna hear it BKb. A: I-III-VII-IM Steam: Nananana BKc. A: I'-IIIM-VII-I' Van der Graaf Generator: After the flood BL. G: I-III-VII-II-V' Fine Young Cannibals: I'm not the man I used to be BM. A: I-III-VII-VI Bon Jovi: Wild is the wind; Gary Moore: Murder in the skies BN. G: I-III--VII-V' Kinks: Tired of waiting for you CAa. A: III-I' Echo & Bunnymen: Clay; Peter Gabriel: Not one of us CAb. A: III4-I7 Phil Collins: Through these walls DAa. A: III-IV-I' (FDC) T. Rex: Get it on DAb. D: III-IV-I' Bob Dylan: Do right to me baby DAc. A: III'-IV'-I Plastic Ono Band: Cold Turkey EA. A: III-IV-I-VI Level 42: Leaving me now FAa. A: III-VI-I Pink Floyd: Another brick in the wall FAb. A: III-VI-I' Motorhead: Overkill GAa. A: III-VII-I (HEA) Def Leppard: Rocket; Peter Hammill: The birds; Police: Rox-

anne; Simple Minds: Mandela day; Toyah: Danced GAb. A: III-VII-I' Elvis Costello: Party girl; Z.Z. Top: Heard it on the X GB. G: III'-VII-V'-I Be-Bop Deluxe: Like an old blues

Class F: Dominant sequences Aa. F: I-V Emerson Lake & Powell: Learning to fly Ab. C: I-V Elvis Costello: Two little Hitlers; Big Country: Rain dance; Shirley Brown:

Stay with me baby; Fleetwood Mac: Never going back again; Procol Harum: Boredom; Transvision Vamp: The only one; Wedding Present: All this & more; A million miles; My favourite dress

AAc. G: I-V Don Covay: See saw; Echo & Bunnymen: Back of love; Mel & Kim: Respectable; Orchestral Manoeuvres: Messages; U2: In God's country

AAd. A: I-V All About Eve: Dream now; Barclay James Harvest: She said; Big Country: Lost patrol; Madness: Not home today; Tiptoes; Pink Floyd: Hey you

AAe. H: I-V Echo & Bunnymen: Porcupine; The Fall: Spoilt Victorian child; Madness: Take it or leave it; Turning blue; Motorhead: Stay clean; Rolling Stones: Paint it black

AAf. C: I-V" Electric Light Orchestra: Starlight AAg. B: I--V Van Halen: Intruder ABa. C: I-V-I Abba: Take a chance on me; Beatles: Yellow submarine; Creedence

Clearwater Revival: Have you seen the rain; Up around the bend; Family: In my own time; Jam: A bomb in Wardour Street; Rattles: Sunshine every day; Thin Lizzy: Killer on the loose; Who: Happy Jack

ABb. H: I-V-I Bob Dylan: Man gave names to all the animals; They might be giants: Istanbul (not Constantinople)

ACa. A: I-V'-II-IV-VI-IV-V'-I Nik Kershaw: Roses




ACb. F: I-V-II-V Move: Yellow rainbow ACc. C: I-V-II-V Eagles: Tequila sunrise; Peter Hammill: Candle; T'Pau: Only the

lonely ADa. A: I-V'-III-IV'-VI-VII Eric Clapton: Let it grow ADb. A: I-V'-III-VII Motorhead: Damage case AEa. C: I-V-IV (HAE) Big Country: Chance; David Bowie: Queen Bitch; Ziggy

Stardust; Phil Collins: I wish it would rain; Def Leppard: Run riot; Derek & Dominos: Anyday; Eagles: Already gone; Peter Hammill: Re-awakening; Icicle Works: Hope springs eternal; Kinks: Waterloo sunset; Madness: Close escape; Michael Caine; Talking Heads: The big country; Wedding Present: All this & more; Everyone thinks he looks daft; What did your last servant die of?

AEb.A: I-V-IV Eric Clapton: I can't stand it AFa. C: I-V-IV-II-V T'Pau: Only the lonely AFb. A: I-V-IV-II-V Love Affair: Everlasting love AG. D: I-V-IV-III Genesis: Blood on the rooftops AHa. C: I-V-IV-V Beach Boys: God only knows; Beautiful South: From under the

covers; Woman in the wall; Big Country: I walk the hill; The sailor; Phil Collins: It don't matter to me; Fleetwood Mac: I don't want to know; George Harrison: Apple scruffs; Jonathan King: Everyone's gone to the moon; Led Zeppelin: Tangerine; Love Affair: Lincoln County; Madness: March of the gherkins; Vic- toria Gardens; Mott the Hoople: Roll away the stone; Queen/David Bowie: Under pressure; T'Pau: Secret garden; Vapors: News at ten

AHb. A: I-V-IV-V (DEB) Beach Boys: Good vibrations; Phil Collins: This must be love; Gentle Giant: Aspirations; Nik Kershaw: Wide boy

AI. C: I-V-VI-I (BD) Creedence Clearwater Revival: Proud Mary; Stevie Wonder: He's Misstra Know-it-all

AJa. C: I-V-VI-I-IV-II-V (ABB) Elvis Costello: There's no action; Slade: Far far away AJb. C: I-V-VI-I-IV-V-I Madness: Disappear AK. F: I-V-VI-II (B) Blondie: Atomic; Byrds: I'll feel a whole lot better ALa. C: I-V-VI-III-IV XTC: Ballet for a rainy day ALb. C: I-V-VI'-III-IV Gentle Giant: Cogs in cogs AM. A: I-V'-VI-III'-VII Madness: Rise & fall ANa. C: I-V-VI-IV (DDB) Big Country: The sailor; Creedence Clearwater Revival:

Someday never comes; Dire Straits: Romeo and Juliet; Billy Joel: Shameless; We didn't start the fire; Bob Marley: No woman no cry; Paul McCartney: Figure of eight; McGuinness Flint: When I'd dead and gone; Olivia Newton-John: Take me home country roads; Orchestral Manoeuvres: Tesla girls; Police: So lonely; Smiths: Reel around the fountain; Vapors: Somehow

ANb. E: I'-V'-VI-IV--II-V'-I Billy Joel: State of grace ANc. C: I-V-VI-IV-V Derek & Dominos: Bell-bottom blues AOa. C: I-V-VI-V (GBB) Leo Sayer: When I need you AOb. A: I-VI-V-IV-VII-I Police: Roxanne APa. A: I-V-VII Level 42: Physical presence; Smiths: You've got everything now;

Thin Lizzy: Waiting for an alibi; Wishbone Ash: Warrior APb. G: I-V'-VII Jimi Hendrix: If six was nine; Toto: Manuela run AQ. A: I'-V'-VII-IV-VII (BDB) Toto: Angela AR. A: I'-V'-VII-VI Toyah: Race through space BA. C: II-V-I-V (ILA) Kinks: Autumn almanac BB. E: II--VII-V--I Jethro Tull: Crossfire



94 Allan Moore

DBa. C: IV-V-I (GAHa) Elvis Costello: This year's girl; Eagles: Take it to the limit; Marvin Gaye & Tammi Terrell: It takes two; Peter Gabriel: Kiss of life; Nik Kershaw: You might; Nazareth: Broken down angel; Orchestral Manoeuvres: Souvenir; Pink Floyd: Vera; Chris Rea: Tell me there's a heaven; Vapors: Waiting for the weekend; Junior Walker: How sweet it is; Who: I'm a boy; Stevie Wonder: Living in the city

DBb. A: IV-V-I Fleetwood Mac: Big love; Oh Daddy; David McWilliams: Days of Pearly Spencer; Toto: Hold the line

DBc. A: IV-V-V'-I Paul McCartney: Distractions DC. C: TV-V-I-III' (EDAa) John Lennon: Imagine DD. C: IV-V-I-VI (DBAa) Barclay James Harvest: Galadriel; David Bowie: Ashes to

ashes; Creedence Clearwater Revival: Have you ever seen the rain; Kylie Minogue: Turn it into love; R.E.O. Speedwagon: Son of a poor man; Chris Rea: Daytona

EAa. C: V-I Byrds: Turn! turn! turn!; Deep Purple: Into the fire; John Lennon: Give peace a chance; Pink Floyd: Chapter 24; R.E.O. Speedwagon: Whiskey night; Z.Z. Top: Francine

EAb. A: V-I Kate Bush: Strange phenomena EAc. H: V-I Van der Graaf Generator: White hammer FA. C: V-VI-I Roxy Music: Spin me round FB. C: V-VI-IV-V-I Beach Boys: Break away GA. A: VI-IV-V-I (DEA) Police: I can't stand losing you GBa. C: VI-V-I Beautiful South: You keep it all in; Fine Young Cannibals: Don't let it

get you down GBb. H: VI-V-I Shocking Blue: Venus; Tina Turner: Undercover agent for the blues HA. G: VII-V-I Jam: Smithers-Jones

Class G: Subdominant sequences AAa. C: I-I--TV Led Zeppelin: The rain song AAb. C: I-I=-IV George Harrison: Isn't it a pity AAc. C: I-Ix-IV (B) Fleetwood Mac: Welcome to the room ... Sara AAd. C: I-Ix-IV-IV- Icicle Works: When you were mine AAe. C: I-I-IV George Harrison: Isn't it a pity AAf. C: I-IM-Ix-IV Phil Collins: Don't let him steal your heart away; Electric Light

Orchestra: Steppin' out AAg.C: I-Ix-TV-Io-I George Harrison: I dig love ABa. C: I-IV Abba: Mama mia; Beatles: Lady Madonna; Revolution; Be-Bop Deluxe:

Blazing apostles; Fair exchange; Like an old blues; Big Country: Angle Park; Close action; Blood Sweat & Tears: Hi-de-ho; Byrds: Chimes of freedom; Mr Tambourine man; Eric Clapton: Motherless children; Dave Clark Five: Bits & pieces; Glad all over; Phil Collins: Like china; Elvis Costello: Pay it back; Creedence Clearwater Revival: Hey tonight; Deacon Blue: Wages day; Your constant heart; Def Leppard: Excitable; Donovan: Colours; Eddie Floyd: Bring it on home to me; Aretha Franklin: Respect; Peter Gabriel: Biko; Peter Hammill: Child; Viking; Frederick Knight: I've been lonely for so long; Jean Knight: Mr. Big Stuff; John Lennon: Imagine; McGuinness Flint: When I'm dead and gone; Meat Loaf: You took the words right out of my mouth; Steve Miller band: Who do you love; Nazareth: This flight tonight; John Otway & Wild Willy Barrett: Really free; Wilson Pickett: In the midnight hour; Pink Floyd: In the flesh?; R.E.O. Speedwa-




gon: Find my fortune; Start a new life; Lou Reed: Walk on the wild side; Rolling Stones: Fool to cry; Santana: Song of the wind; Secret Affair: Time for action; Selecter: On my radio; T. Rex: Telegram Sam; Temptations: Ain't too proud to beg; Them: Here comes the night; They might be giants: Birdhouse in your soul; Letterbox; U2: MLK; Running to stand still

ABb. D: I-IV Bee Gees: Stayin' alive; Marvin Gaye: Inner city blues; Haircut 100: Favourite shirts; Hue & Cry: Labour of love; Paul McCartney: Rough ride; Pink Floyd: Any colour you like; Breathe; Pow R. Toc H.; Police: Hole in my life; Santana: She's not there; Shockin' Blue: Venus; Swinging Blue Jeans: You're no good

ABc. A: I-IV Kate Bush: James & the cold gun; Doors: People are strange; King Crimson: Book of Saturday

ABd. G: Ix-IVx Elvis Costello: Pump it up; Talking Heads: Found a job ABe. C: I-IV-I Big Country: Tall ships go; Eric Clapton: Mainline Florida; Phil Collins:

Behind the lines; Steve Miller band: Jet air liner ACa. C: I-IV-I-V-I Amen Corner: Hello Susie; Elvis Costello: Busy bodies; Fleetwood

Mac: Second hand news ACb. C: I-IV-I-V-IV-I (KAEa) U2: I still haven't found what I'm looking for AD. C: I-IV-I-VI Jimi Hendrix: One rainy wish AEa. C: I-IV-II-I Byrds: The bells of Rhymney AEb. G: I-IV-II-I-IV Joe Cocker & Jennifer Warnes: Up where we belong AEc. C: I-IV-II-IV Be-Bop Deluxe: Sleep that burns; Def Leppard: Hysteria; George

Harrison: If not for you; Roxy Music: My little girl AEd. C: I-IV-II'-IV Deacon Blue: This changing light AEe. C: I-IV-II-IV-V Orchestral Manoeuvres: Locomotion AEf. C: I-IV-II'-V'-III-VI (IADa) Elvis Costello: Busy bodies AFa. D: I-IV-III Bon Jovi: Lay your hands on me; Eric Clapton: Rita Mae AFb. A: I'-IV'-III Uriah Heep: Real turned on AFc. C: I-IV-III'-IV-II'-IV-V John Lennon: No.9 dream AFd. D: I-IV-III-VII Deep Purple: Speed king AFe. D: I'-IV-III-VII Bangles: Hero takes a fall AGa. C: I-IV-IV--I Stevie Wonder: He's Misstra Know-it-all AGb. D: I-IV-IV--I Barclay James Harvest: She said; Level 42: I sleep on my heart;

Supertramp: If everyone was listening AGc. A: I-IV'-IV-I' Toto: Girl goodbye AHa. C: I-IV-V (EAIa&FDBa) Abba: Knowing me knowing you; Arrival: Friends;

Band: We can talk; Bangles: Going down to Liverpool; James; Beatles: Here comes the sun; Lucy in the sky with diamonds; Be-Bop Deluxe: Heavenly homes; Jeff Beck: Hi-ho silver lining; Bon Jovi: Stick to your guns; Boomtown Rats: She's so modern; Judy Clay & William Bell: Private number; Phil Collins: Like china; Elvis Costello: Little triggers; Def Leppard: Pour some sugar on me; Jim Diamond: I should have known better; Ian Dury: Clevor Trever; Echo & Bunnymen: The cutter; Electric Light Orchestra: Sweet is the night; Fine Young Cannibals: Don't look back; Fleetwood Mac: Seven wonders; Art Garfunkel: All I know; Hollies: Carrie Ann; Icicle Works: Who do you want for your love; Jethro Tull: Crossfire; Nik Kershaw: Wide boy; Wild horses; Kinks: Autumn almanac; Led Zeppelin: The ocean; Madness: Prospects; Meat Loaf: All revved up & no place to go; Steve Miller band: Swing town; Move: Flowers in the rain; Orchestral Manoeuvres: Secret; Brian Poole: Do you love me?; Procol Harum: Ramble on;



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Your own choice; Queen: Now I'm here; R.E.O. Speedwagon: Without expression; Rolling Stones: Get off of my cloud; They might be giants: Dead; Your racist friend; Smiths: The hand that rocks the cradle; T'Pau: Arms of love; Between the lines; Heaven; Road to our dream; Running away; Time will tell; Terence Trent D'Arby: If you let me stay; Vapors: Spring collection; Sheila Walsh: Don't hide your heart; Wedding Present: Getting nowhere fast; Who: Anyway any- how anywhere; Neil Young: Only love can break your heart

AHb. D: I-IV-V Dead & Alive: You spin me round AHc. A: I-IV-V Phil Collins: I missed again; King Crimson: The night watch; Genesis:

All in a mouse's night; Level 42: Dream crazy; Pet Shop Boys: West End girls AHd. H: I-IV-V Beautiful South: Girlfriend; Madness: On the beat Pete AHe. F: I-IV'-V 10000 volts: Totally useless AHf. D: I-IV-V' Phil Collins: I'm not moving; Rolling Stones: Fool to cry AIa. C: I-IV-V-I Abba: Waterloo; Big Country: Fields of fire; Bon Jovi: Love for sale;

Erasure: Drama; Gladys Knight: Take me in your arms; Meat Loaf: For crying out loud; Orchestral Manoeuvres: Joan of Arc; Pink Floyd: Free four; Supremes: The happening; Transvision Vamp: Born to be sold

AIb. A: I-IV-V-I Steve Miller band: Abracadabra AJ. C: I-IV-V-IV Abba: The name of the game; Booker T & MGs: Soul limbo; Eddie

Cochran: C'mon everybody; Electric Light Orchestra: Summer & lightning; Peter Gabriel: Family snapshot; Orchestral Manoeuvres: If you leave; Pink Floyd: Stay; Police: Born in the 50s; Brian Poole: Game of love; Sandpipers: Hang on Sloopy; Searchers: Sweets for my sweet; Transvision Vamp: Baby I don't care; Troggs: Wild thing; UB40: Red red wine

AK. C: I-IV-V-VI Bon Jovi: Stick to your guns; String Driven Thing: It's a game; T'Pau: Island

AL. G: I-IV-V'-VII Johnny Winter: Guess I'll go away AMa. A: I-IV-VI-I Paul McCartney: We got married AMb. A: I-IV'-VI-I David Bowie: Andy Warhol; Steve Miller band: Fly like an eagle AMc. A: I'-IV'-VI-I' Monkees: Goin' down AN. C: I-IV-VI-II' Big Country: In a big country AO. A: I-IV'-VI-III-VII David Bowie: Suffragette city AP. C: I-IV-VI-IV Big Country: Inwards; Bob Dylan: Precious angel; Madness:

E.R.N.I.E. AQa. C: I-IV-VI-V Big Country: Close action; Fine Young Cannibals: She drives me

crazy; Kylie Minogue: Love at first sight AQb . H: I-IV-VI-V Chris Rea: The road to hell (pt.2) AQc. G: I-IV-VI-V-VII Big Country: The great divide; Bon Jovi: Blood on blood; Phil

Collins: Behind the lines; U2: Where the streets have no name AR. A: I'-IV'-VI-VII Chris Rea: Texas BAa. C: IV-I Big Country: 100 stars; David Bowie: It ain't easy; Arthur Conley: Sweet

soul music; Elvis Costello: Miracle man; Night rally; Deacon Blue: Circus lights; Real gone kid; Eagles: One of these nights; Fleetwood Mac: Songbird; Eddie Floyd: Knock on wood; Jam: Thick as thieves; Roxy Music: Cry cry cry; Terence Trent d'Arby: If you let me stay; U2: Elvis Presley & America; Promenade; A sort of homecoming

BAb. D: IV-I Led Zeppelin: For your life BAc. A: IV-I Madness: Embarrassment; Pink Floyd: Childhood's end BAd. C: IVx-Ix Bob Dylan: Do right to me baby




BBa. C: IV-I-II-I Deacon Blue: Orphans BBb. E: IV-I-II-I (FAO) Slade: Coz I luv you; Thin Lizzy: Jailbreak BC. C: IV-I-II-IV-V-I Be-Bop Deluxe: Crying to the sky BD. C: IV-I-II-V Electric Light Orchestra: Summer & lightning; Pink Floyd: Time BE. C: IV-I-II'-V Boomtown Rats: Me & Howard Hughes BF. A: IV'-I-III-VII-VI Supertramp: Crime of the century BG. C: IV-I-IV-V Derek & Dominos: Tell the truth BH. C: IV-I-V-I Big Country: Steeltown; Byrds: All I really want to do; Creedence

Clearwater Revival: Down on the corner; Jam: Smithers-Jones; They might be giants: We want a rock

BI. C: IV-I-VI-I David Bowie: Starman BJ. C: IV-I-VI-II'-V Peter Gabriel: And through the wire BKa. G: IV-I-VII-I (BBNa&HCAa) John Kongos: Tokoloshe man BKb. G: IV-I-VII--I Elvis Costello: Less than zero BL. C: IV-II-I Phil Collins: I cannot believe it's true; Nik Kershaw: Save the whale BM. D: IV-III-I Phil Collins: I don't care any more BN. A: IV-III-IV-I Pink Floyd: Young lust BO. A: IV'-VI--I' Wedding Present: My favourite dress BP. C: IV-V-II-I Neil Young: Tell me why BQ. C: IV-V-IV-I Bob Dylan: When He returns BR. A: IV-VI-III-I Fleetwood Mac: The chain CAa. C: V-IV-I (HAEa) Big Country: Harvest home; Kate Bush: The kick inside; Billy

Joel: That's not her style CAb. G: V-IV-I George Harrison: All things must pass; Simple Minds: Street fighting

years CAc. A: V-IV-I Pink Floyd: Money CB. C: V-IV-I-IV-II-I Peter Gabriel: Wallflower

Class H: Sharpwise cyclic sequences AAa. A: I-III-VII-IV-I Kinks: Dead End Street AAb. D: I-III-VII-IV Fine Young Cannibals: I'm not satisfied; Jethro Tull: 4 W.D.; Meat

Loaf: Bat out of hell; Siouxsie & Banshees: Arabian nights ABa. F: I-V-II Deep Purple: Flight of the rat ABb. C: I-V-II Abba: Super trouper; Beatles: With a little help from my friends; Dexy's

Midnight Runners: Come on Eileen; Supremes: Where did our love go?; They might be giants: Hearing aid

ACa. C: I-V-II-IV Def Leppard: Run riot ACb. C: I-V-II'-IV Boomtown Rats: I never loved Eva Braun ACc. A: I'-V-II--IV Madness: Our house AD. C: I-V-II-VI-V Gary Moore: Rest in peace AEa. C: I-V-IV-I (FAE&GCAa) Band: Long black veil; David Bowie: Diamond dogs;

Creedence Clearwater Revival: Bad moon rising; Fortunate son; Fleetwood Mac: Go your own way; Kinks: Village Green Preservation Society; Marmalade: Baby make it soon; Who: Substitute

AEb. H: I-V-IV'-I Eagles: Witchy woman; Gentle Giant: Giant for a day AFa. G: I-V-VII-IV Jimi Hendrix: One rainy wish AFb. A: I-V-VII-IV Supertramp: School AFc. G: I-V'-VII-IV Icicle Works: Walking with a mountain; Lindisfarne: When the



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war is over; Pink Floyd: Comfortably numb; Fat old sun; Transvision Vamp: Kiss their sons; U2: Red Hill mining town; Unforgettable fire; Van Halen: Secrets; Vapors: Turning Japanese

AFd. G: I'-V'-VII-IV-V'-II' Roxy Music: For your pleasure AFe. A: I'-V'-VII-IV'-VI Simple Minds: Wonderful in young life AGa. G: I-V-VII-IV-I Eric Clapton: Let it rain AGb. D: I-V-VII-IV-I' Wishbone Ash: Warrior BA. A: I-VI-III-VII Sheila Walsh: Hope for the hopeless BB. A: I'-VII-V'-III-VII-IV Pink Floyd: Burning bridges; Mudmen CAa. G: I-VII-IV (BBNa&GBKa&HJB) Bangles: Live; Bar-Kays: Soul finger; Beatles:

Hey Jude; Taxman; David Bowie: Memory of a free festival; Eric Clapton: Don't know why; Elvis Costello: You belong to me; Creedence Clearwater Revival: Fortunate son; Deacon Blue: Queen of the new year; Deep Purple: Flight of the rat; Def Leppard: Don't shoot shotgun; Donovan: Hurdy Gurdy Man; Ian Dury: Blockheads; Fleetwood Mac: Don't stop; Four Tops: If I were a carpenter; Free: All right now; Led Zeppelin: Gallows pole; Hots on for nowhere; Out on the tiles; The rain song; Mahavishnu Orchestra: Open country joy; Steve Miller band: Rock'n me; Take the money & run; Mission: Island in a stream; Move: When Alice comes back to the farm; Nazareth: Love hurts; Shanghaid 'n' Shanghai; Roxy Music: Trash; 2H.B.; Stone Roses: I am the resurrection; Thin Lizzy: Killer on the loose; U2: Trip through your wires; Uriah Heep: All my life; Circle of hands; The wizard; Sheila Walsh: We're all one; Who: Can't explain; Magic bus; Johnny Winter: Ain't that a kindness

CAb. D: I-VII-IV Barclay James Harvest: Paper wings; Big Country: The storm; Kate Bush: Feel it; Eric Clapton: Catch me if you can

CAc. A: I-VII-IV David Bowie: Ashes to ashes; Phil Colllins: Another day in paradise; Uriah Heep: Traveller in time

CB. A: I'-VII-IV'-VI-III Roxy Music: Angel eyes CCa. G: I-VII-IV-V Roxy Music: If there is something; They might be giants: Twisting CCb. G: I-VII-IV-V' Johnny Winter: On the limb CCc. D: I-VII-IV-V' Level 42: Coup d'etat CDa. D: I-VII-IV-III Kate Bush: Oh to be in love CDb. A: I-VII-IV-III Bronski Beat: Smalltown boy CDc. D: I'-VII-IV-III Chris Rea: Looking for a rainbow CEa. C: I-VII-IV-II David Bowie: Look back in anger CEb. E: I-VII'-IV'-II Toyah: Ieya CF. G: I-VII-II-I Band: Chest fever DA. C: II-IV-I-V Band: Wheels on fire EAa. G: III-VII-IV-I Be-Bop Deluxe: Fair exchange; Led Zeppelin: Over the hills & far

away EAb. D: III-VII-IV-I Elvis Costello: Goon squad; Pink Floyd: Childhood's end EAc. A: III-VII-IV-I (EGA) Melanie: Candles in the rain EAd. A: III-VII-IV-I' Rolling Stones: Jumpin' Jack Flash FAa. C: IV-I-V Bon Jovi: Living in sin; Creedence Clearwater Revival: Up around the

bend; Def Leppard: Animal FAb. G: IV-I-V Toto: Manuela run FB. C: IV-I-V-II' Roxy Music: Still falls the rain GAa. C: V-II-IV-I Peter Gabriel: Wallflower; Led Zeppelin: Celebration day GAb. C: V-II'-IVx-I Band: To kingdom come




HA. A: VI-III-VII-I' (DBI) Family: In my own time HB. A: VI-III-VII-IV'-I' Jimi Hendrix: Hey Joe; Siouxsie & Banshees: Love in a void HC. C: VI-IV-I-V Gary Moore: Kidnapped IAa. G: VI-VII-IV-I Johnny Winter: Look up IAb. D: VI-VII-IV-I Led Zeppelin: For your life JA. A: VII-IV'-I-V' Deep Purple: Fireball JB. G: VII-IV-I (HCAa) All About Eve: Road to your soul; Bon Jovi: 99 in the shade;

Kate Bush: The man with the child in his eyes; Eric Clapton: Black rose; Derek & Dominos: Anyday; Bob Dylan: I believe in you; Fairport Convention: Reynardine; Peter Hammill: Vision; Jethro Tull: Pig-me & the whore; Billy Joel: I go to extremes; Meters: Ease back; Police: Next to you; Simple Minds: Belfast child; Talking Heads: Thank you for sending me an angel; U2: In God's country; Van Halen: Hang 'em high; Vapors: Trains; Johnny Winter: Ain't that a kindness

JC. G: VII-IV-VII-I R.E.O. Speedwagon: Open up

Class I: Flatwise cyclic sequences AA. G: I-I"-IV-VII Paul McCartney: Motor of love AB. A: I-VI-VII-III-VI-II-V Gentle Giant: It's only goodbye AC. G: I-VI'-II-VII-V' Beach Boys: I get around ADa. C: I-VI-II-V (DBAa&GAEf) Abba: Fernando; Winner takes all; Beautiful South:

Love is ...; Fourmost: Hello little girl; Gerry & Pacemakers: How do you do it?; Whitney Houston: Saving all my love for you; Madness: The blue-skinned beast; Kylie Minogue: It's no secret; Nilsson: Without you; Procol Harum: Your own choice; Simon & Garfunkel: America

ADb. C: I-VI'-II-V David Bowie: Life on Mars; Whitney Houston: You're still my man; Paul McCartney: You want her too; Move: Fire brigade; Simon & Garfunkel: Baby driver

ADc. F: I-VI'-II-V Boomtown Rats: She's so modern AEa. F: I-VI-II-V-I Beatles: Good day sunshine; Mary Wells: My guy AEb. C: I-VI'-II-V-I Edwin Starr: Stop her on sight; Stevie Wonder: For once in my life BAa. G: I-IV-VII Elvis Costello: Waiting for the end of the world; Def Leppard: Love &

affection; Kinks: Lola; Plastic Ono Band: Happy Christmas war is over; Procol Harum: Nothing but the truth; She wandered through the garden fence; Simple Minds: When spirits rise; Uriah Heep: Poet's justice

BAb. D: I-IV-VII Thin Lizzy: Don't believe a word BAc. A: I-IV-VII Toto: Takin' it back BAd. G: I-IV-VIIx-I Derek & Dominos: Layla BAe. A: I'-IV-VII Stevie Wonder: I was made to love her BBa. A: I-IV-VII-I-V George Harrison: When you gonna wake up BBb. G: I-IV-VII-I-V-IV Mission: Bridges burning BCa. G: I-IV-VII-V Fontella Bass: Rescue me; U2: Pride in the name of love BCb. G: I-IV-VII-V' Elvis Costello: Alison; XTC: That's really super, supergirl BCc. D: I-IV-VII-V' Procol Harum: Conquistador BDa. G: I-IV-VII-IV Solomon Burke: Everybody needs somebody to love; Fleetwood

Mac: Gold dust woman; Icicle Works: Don't let it rain on my parade; Queen: Crazy little thing called love; U2: One tree hill

BDb. G: I-V--VII-IV--V Curiosity Killed the Cat: Down to earth BEa. D: I-IV-VII--III Beautiful South: Have you ever been away?



100 Allan Moore

BEb. D: I-IV-VII-III-bII' Stevie Wonder: Don't you worry 'bout a thing BEc. A: I'-IV-VII-III-V' Peter Hammill: Happy BEd. G: I-IV-VII-III-VI Kylie Minogue: Turn it into love; Procol Harum: The devil came

from Kansas; Simon & Garfunkel: Mrs Robinson BEe. A: I-IV'-VII-III-VI Elvis Costello: Accidents will happen BEf. A: I'-IV'-VII-III-VI Hue & Cry: Labour of love BEg. E: I-IV'-VII-III-VI--II Uriah Heep: The spell BEh. A: I-IV-VII-III-VI-II-V' Gloria Gaynor: I will survive BFa. C: I-IV-II-V Beach Boys: Wouldn't it be nice; Def Leppard: Love bites; Eagles:

Lyin' eyes; Icicle Works: Up here in the north of England; Simon & Garfunkel: Only living boy in New York; Transvision Vamp: Landslide of love; Bonnie Tyler: Lost in France; Neil Young: Till the morning comes

BFb. C: I-IV-II'-V Beatles: Things we said today; David Bowie: Changes; Move: Walk upon the water

BG. C: I-IV-II-V-III-VI-IV-I Procol Harum: Homburg CA. F: I--III'-VI'-III'-II-V Motorhead: Tear ya down CB. C: I-III-VI-II-V Queen: Don't stop me now CCa. C: I-III-II-V (EAIa) Abba: Super trouper; Beatles: I'm happy just to dance with

you; Beautiful South: Oh Blackpool; Cuff Links: Tracy; Gerry & Pacemakers: I like it; Billy J. Kramer: Do you want to know a secret?; Move: Curly

CCb. C: I-III-II-V-I Mary Wells: My guy DAa. F: I-II-V Kinks: You really got me; Move: Flowers in the rain DAb. C: I-II-V Beach Boys: Don't worry baby; I can hear music; David Bowie: Bewlay

brothers; Elvis Costello: Senior service; Who: Substitute DAc. G: I-II-V Souxsie & Banshees: Spellbound DBa. F: I-II-V-I Beach Boys: Heroes & villains; Beatles: I want to tell you DBb. C: I-II-V-I Adam & Ants: Ant music; Beach Boys: You're so good to me; Beatles:

Tell me why; David Bowie: Sound and vision; Janis Ian: At seventeen; Plastic Ono Band: Happy Christmas war is over

DBc. A: I-II'-V'-I Abba: Money money money; Procol Harum: Pandora's box DBd. B: I--II-V-I- David Bowie: Bewlay brothers EA. C: I-IM-II-V Edwin Starr: Stop her on sight FA. C: V-V7-I-II7 Kate Bush: The morning fog; Procol Harum: Pilgrim's progress FB. C: VI-II-V-I Def Leppard: Love bites; Procol Harum: Magdalene my regal

zonophone GA. C: V-III'-VI-II'-IV-II-I Abba: Dancing queen GB. C: V-I-IV Icicle Works: Evangeline; Level 42: It's not the same for us GC. C: V-I-IV-V Def Leppard: Gods of war HA. G: IV-VII-I Byrds: I'll feel a whole lot better; Eric Clapton: Mainline Florida HB. C: IV-V-III-VI-II-V-I Paul McCartney: Figure of eight; Kylie Minogue: I should be

so lucky HC. D: IV-V'-I Happy Mondays: Bring a friend HD. C: IV-II-V-I Kate Bush: Wuthering Heights; Judy Clay & William Bell: Private

number; Def Leppard: Love bites; Derek & Dominos: Layla; Kylie Minogue: Got to be certain; Procol Harum: The final thrust

HE. C: IV-II-III-VI-II-V-I Petula Clark: My love is brighter than the brightest sunshine

HF. C: IV-I-II'-V-I Bonzo Dog Band: Canyons of your mind IA. C: III-VI-IV-V-I Supremes: The happening




IB. C: III-VI-II-V Martha Reeves: I'm ready for love ICa. C: III-VI-II-V-I Beatles: Can't buy me love; Big Country: Eiledon; Phil Collins: You

can't hurry love; Elvis Costello: Living in paradise; Kylie Minogue: I miss you; I'll still be loving you

ICb. C: III'-VI-II-V-I Stevie Wonder: Too high ICc. F: III'-VI-II-V-I Jam: David Watts IE. G: III'-VI'-II'-V-VII-I Bryan Ferry: The 'in' crowd IF. E: III'-VI'-II'-V'-I' Supremes: The happening JA. C: II-VI-IV-V-I Beatles: And I love her JBa. F: II-V-I David Bowie: Red sails; Johnny Burnette: You're sixteen JBb. C: II-V-I Abba: Super trouper; Albert Hammond: It never rains in Southern

California; Beatles: With a little help from my friends; Jam: Billy Hunt; Down in the tube station at midnight; Santana: All the love of the universe

JC. C: II'-V-I-IV All About Eve: More than the blues JDa. C: II-V-I-VI A-Ha: Take on me; Beatles: Lady Madonna; Fleetwood Mac: You and

I, part II; George Harrison: My sweet lord; Paul McCartney: This one; Stevie Wonder: A place in the sun

JDb. C: II-V-I-VI' Beach Boys: Darlin' JE. G: II-V'-I-VII= Procol Harum: Conquistador JF. D: II-V'-VI--IV-V'-III-I' Eurythmics: There must be an angel PA. G: I-III'-VI-Ix-IV-VI'-II-IVx-VII (EBDb) Elvis Costello: Party girl PB. A: I-III-VII-IV'-VI-III-V Wishbone Ash: Throw down the sword PC. A: I-V'-VII--IV'-IV--VII-V'-bV' Madness: Primrose Hill

Class J: Non-tonic elaboration/tonic preparation AA. A: VII-VI-V' King Crimson: Court of the crimson king BA. G: VI-VII U2: Wire BB. A: VI-VII-V' Siouxsie & Banshees: Mirage BCa. C: VI-V Vapors: Letter from Hiro BCb. H: VI-V Vapors: Somehow BDa. C: VI-V-IV-V Supremes: Stop in the name of love BDb. C: VI-V-IV (B) Big Country: Heart & soul; David Bowie: Star; Johnny Winter: Am

I here? BDc. A: VIx-Vx-IVx-Vx Madness: Madness is all in the mind BE. C: VI-IV Be-Bop Deluxe: Sleep that burns BF. C: VI-IV-V Big Country: Girl with grey eyes; Porrohman; Fleetwood Mac: Go your

own way BG. A: VI-IV-III-VII Phil Collins: The roof is leaking BH. A: VI-III-VII Def Leppard: Armageddon it BI. C: VI-III-VII-IV Kate Bush: James & the cold gun BJ. C: VI-III-VI-V Simon & Garfunkel: The boxer CA. C: V-IV Eric Burdon: It's my life; Deacon Blue: Your constant heart; Aretha

Franklin: Respect; Frederick Knight: I've been lonely for so long; Led Zeppelin: Royal Orleans

CB. C: V-IV-II-V Big Country: Where the rose is sown CCa. C: V-VI-IV-V Cockney Rebel: Judy Teen; Fleetwood Mac: Everywhere; Gary

Moore: All I want CCb. C: V-VI-IV-II' Rolling Stones: Fool to cry



102 Allan Moore

CD. C: IV-#IV O-V-Ix Paul McCartney: That day is done CE. C: IV-VI-II' David Bowie: Moonage daydream DAa. C: IV-V Boomtown Rats: Don't believe what you read; David Bowie: Hang on to

yourself; Eric Burdon: Spill the wine; Byrds: So you want to be a rock'n'roll star; Elvis Costello: Two little Hitlers; Five Star: Rain or shine; King Crimson: Two hands; Led Zeppelin: The ocean; Over the hills and far away

DAb. H: IV-V Gentle Giant: Proclamation DC. A: IV-III-VII-VI Peter Gabriel: Lay your hands on me DDa. C: IV-III-II-V Neil Young: Only love can break your heart DDb. E: IV'-III-II-bI'-V Stevie Wonder: Visions EA. C: III-VI-IV-V Beautiful South: Song for whoever EB. A: III-IV'-VI-V Kinks: Till the end of the day EC. A: III-VI Kinks: Dead End Street ED. F: III'-VI-V-I-Ix-II-V Electric Light Orchestra: Wild west hero FAa. F: II-V David Bowie: Hang on to yourself; Creedence Clearwater Revival: Hey

tonight FAb. C: II-V Elvis Costello: Little triggers; Four Tops: Reach out; John Lennon: No. 9

dream; Simply Red: Holding back the years; Supertramp: Bloody well right

Class K: Twelve-bar blues (often with eight-bar bridge moving to VI)

One chord per bar: brackets incorporate intra-bar changes AA. A: I-I-I-I-III--III-II--I-I-V-VII-I-I Jimi Hendrix: Little miss lover ABa. C: I-I-I-I-IV-IV-I-I-V-V-I-I Chuck Berry: Johnny B. Goode; Bon Jovi: Bad medi-

cine; Eric Clapton: I can't hold out; Danny & the Juniors: At the hop; Bill Haley: Rock around the clock; Buddy Holly: Oh boy; Louis Jordan: Choo choo ch'boogie; Jerry Lee Lewis: Whole lotta shakin' goin' on

ABb. A: I-I-I-I-IV-IV-I-I-V-V-I-I Booker T & MGs: Green onions; Z.Z. Top: Blue jean blues

ABc. C: I-I-I-I-IV-IV-I-I-V-IV-V-I Creedence Clearwater Revival: Travelin' band ABd. C: I-I-I-I-IV-IV-I-I-(V-II)-V-I-I Beach Boys: Little deuce coupe ABe. ABa irreg. extensions Elvis Costello: Waiting for the end of the world; Jimi

Hendrix: She's so fine ABf. D: I-IV-I-I-I-IV-I-I-V-V-I-I Z. Z. Top: Backdoor love affair ACa. G: I-I-I-I-IV-IV-I-I-V'-(VII-IV)-I-I Status Quo: In my chair ACb. G: I-I-I-I-IV-IV-I-I-V'-(VII-IV-V')-I-I Billy Swan: I can help AD. A: I'-I'-I'-I'-IV'-IV'-I'-I'-V'-(VI-IV'-V')-I'-I' Eric Clapton: Bad boy AEa. C: I-I-I-I-IV-IV-I-I-V-V-V-I Elvis Costello: Blame it on Cain AEb. C: I-I-I-I-IV-IV-I-I-V-V-V-V Cream: Sunshine of your love AFa. C: I-I-I-I-IV-IV-I-I-V-IV-I-I Beach Boys: Barbara-Ann; Jeff Beck: Let me love you;

You shook me; Canned Heat: Together we stand; Eric Clapton: Blow wind blow; Everly Brothers: Bird dog; Madness: Solid gone; Merseybeats: Sorrow; Steve Miller band: Mercury blues; Nazareth: Bad bad boy; R.E.O. Speedwagon: Movin'; Little Richard: Good golly Miss Molly; Tutti frutti; Mungo Jerry: In the summertime; Gene Vincent: Be-bop-a-lula; Jackie Wilson: Reet petite; Z.Z. Top: Tush; Waitin' for the bus

AFb. A: I-I-I-I-IV-IV-I-I-V-IV-I-I Bob Dylan: Gonna change my way of thinking; Pink Floyd: Money

AFc. C: I-I-I-I-IV-IV-I-I-V-IV-I-V Beatles: You can't do that; Swinging Blue Jeans: Hippy hippy shake




AFd. C: I-I-I-I-IV-IV-I-I-V-V-IV-I Johnny Winter: Look up AFe. G: I-I-I-I-IV-IV-I-I-V-(IV-VI-V')-I-I Eric Clapton: Steady rollin' man AFf. A: I-I-I-I-IV-IV-I-I-V-(IV-VII)-I-I Led Zeppelin: Tea for one AFg. C: I-IV-(I-IV)-I-IV-IV-(I-IV)-I-V-IV-(I-IV)-(I-V) Uriah Heep: Lucy blues AFh. Afa irreg. extensions Led Zeppelin: Hats off to (Roy) Harper BA. A: I-I-I-I-IV-IV-I-I-IV-(VI-VII)-I-I Doors: Riders on the storm BB. C: I-I-I-I-IV-IV-I-I-IV-V-V-I Beatles: Can't buy me love BC. C: I-I-I-I-IV-IV-I-I-IV-IV-V-V Fats Domino: Ain't that a shame BDa. C: I-I-I-I-IV-IV-I-I-IV-I-V-I Johnny Otis Show: Willie and the hand jive BDb. C: I-I-I-I-I-I-I-I-IV-I-(V-IV)-I Z.Z. Top: Beer drinkers & hell raisers BEa. D: I'-I'-I'-I'-IV-IV-I'-I'-III-VII-I'-I' (IA) Who: The seeker BEb. D: I'-I'-I'-I'-IV-IV-I'-I'-(III-VII)-(III-VII)-(III-VII-V')-I' Johnny Winter: Prodigal

son CA. C: I-I-I-I-IV-IV-I-I-II'-IV-I-I Move: When Alice comes back to the farm DA. C: I-I-I-I-IV-IV-I-I-I-I-I-I Little Richard: Tutti frutti DB. C: I-I-I-I-IV-IV-I-I-I-(II'-V)-I-I Z.Z. Top: Jesus left Chicago GA. C: I-I-I-I-V-V-IV-IV-V-IV-I-I Eddie Cochran: Somethin' else HA. C: I-I-I-I-IV-II-I-I-V-IV-I-I T. Rex: Hot love IA. A: I-I-I-I-I-I-I-I-III-VII-I-I (BE) Jimi Hendrix: If six was nine JA. G: I-I-I-I-VII-VII-I-I-V'-IV-I-I Meters: Live wire LA. C: I-I-I-III'-VI-II'-VII--III'-IV-V-I-V Electric Light Orchestra: Mr. Blue Sky MA. G: (I-IV)-I-VII-I-(I-IV)-I-VII-I-IV-V'-(I-IV)-I Beatles: Hard day's night NAa. A: I'-IV'-VI-I-IV-IV-I-I-V-IV-I-I Buddy Holly: Peggy Sue NAb. C: I-IV-I-I-IV-IV-I-I-V-IV-I-I Buddy Holly: Peggy Sue NAc. C: I-IV-I-I-IV-IV-I-I-V-IV-(I-IV)-(I-V) Derek & Dominos: Have you ever loved a

woman NAd. A: I-IV-I-I-IV-IV-I-I-V-(VI-IV)-(I-III)-(II'-bII') Led Zeppelin: Since I've been

lovin' you OA. D: I-VII-I-I-I-VII-I-I-III-IV-I-I Z.Z. Top: Just got paid PA. C: IV-IV-I-I-IV-IV-I-I-V-IV-I-I Jeff Beck: I ain't superstitious; Motorhead: Limb

from limb; Nazareth: Bad bad boy

Class L: Eight/sixteen bar blues

AAa. C: I-I-I-I-V-IV-I-I Eric Clapton: Bottle of red wine AAb. D: I-I-I-I-V'-IV-I-I Cream: Born under a bad sign AB. C: I-I-I-I-IV-I-IV-I Eddie Cochran: Summertime blues ACa. C: I-I-I-I-IV-I-V-I Beatles: Ballad of John & Yoko ACb. C: I-I-I-I-IV-I-(V-IV)-I Elvis Costello: Mystery dance ACc. D: I-I-I-I-IV-I-(V'-VII)-I Bob Dylan: Gotta serve somebody ADa. C: I-I-I-I-IV-V-I-I Beach Boys: Do it again ADb. A: I'-I'-I'-I'-IV'-(VI-V')-I-I Creedence Clearwater Revival: Susie Q AE. A: I'-I'-I'-I'-IV'-V'-I'-III Desmond Dekker: Israelite AF. C: I-I-I-IV-IV-I-V-I Norman Greenbaum: Spirit in the sky AGa. C: I-I-I-V-I-IV-(I-V)-I Johnny & the Hurricanes: Red river rock AGb. C: I-I-I-V-IV-IV-(I-V)-I Beatles: I'll cry instead AH. G: Ix-Ix-IVx-Ix Beatles: Get back BAa. C: I-I-IV-I-V-IV-I-I Stone Roses: Shoot you down BAb. A: I-I-IV-I-VII-IV-(III-VII-VI-V)-I Doors: Love me two times BBa. C: (I-IV)-I-IV-IV-I-I-V-I Derek & Dominos: It's too late



104 Allan Moore

BBb. C: I-I-IV-IV-I-V-I-I Cream: Sitting on top of the world BC. C: I-I-IV-IV-V-IV-I-I Jerry Lee Lewis: Great balls of fire BD. C: I-I-IVx-V-I-I-IVx-V (GAHa) Beach Boys: California girls CA. A: I-I-V-I-IV-I-V-(IV-VI)-I Thin Lizzy: Chinatown CB. C: I-I-V-V-IV-V-I-I Electric Light Orchestra: Birmingham blues DA. C: I-IV-I-IV-(I-VI)-(II-V)-I-I Eric Clapton: Something special DB. C: I-IV-I-IV-I-V-II'-II' Roxy Music: Grey lagoons DC. C: I-IV-I-V-I-IV-V-I Beach Boys: Fun fun fun; Jim Reeves: I love you because;

Rolling Stones: Honky Tonk Women; T. Rex: Ride a white swan DD. C: I-IV-IV-I-I-II'-V-I Eric Clapton: Blues power EA. C: I-V-IVx-IVx-I-V-I-V Derek & Dominos: Key to the highway EB. C: I-V-V-I-IV-I-V-I Beatles: Hey Jude; Drifters: Under the boardwalk FA. C: I-VII'-I-VI'-II'-V-I-(II-V) Leon Redbone: Relax HA. C: IV-I-V-I-IV-I-V-I Ray Charles: I can't stop loving you; Fats Domino: Blueberry

Hill; Everly Brothers: Bird dog; Roxy Music: Would you believe? IA. C: IV-IV-I-I-IV-IV-I-(V-I) Buddy Holly: That'll be the day IB. C: IVx-IVx-I-I-V-V-I-I Louis Jordan: Choo choo ch'boogie IC. G: IV-IV-I-I-VII-IV-I-I Meat Loaf: Let me sleep on it LAa. C: V-I-V-I-IV-I-V-I Beach Boys: Surfin' USA; Chuck Berry: Sweet little sixteen LAb. C: V-I-V-I-IV-(I-VI')-(II-V)-I Kinks: Dedicated follower of fashion MA. C: V-V-V-V-I-I-V-I Chuck Berry: Memphis Tennessee RA. C: I-I-I-I-IV-IV-I-I-V-IV-V-IV-I-I-I-I Chris Montez: Let's dance RB. C: I-I-I-I-IV-IV-I-I-V-V-IV-IV-I-I-I-I Nazareth: Razamanaz RC. C: (I-V)-I-IV-I-I-IV-(I-V)-I Eric Clapton: Floating bridge

Class M: Returning modulations

AA. G: IC-VIIC Band: We can talk; Beatles: Good day sunshine; Madness: Victoria Gardens; Gary Moore: Teenage idol; Who: I'm free

AB. C: IA-VIIA-IIC Derek & Dominos: Layla BAa. C: IC-VIC Derek & Dominos: Bell-bottom blues; Who: Pictures of Lily BAb. C: IC-VIA David Bowie: Moonage daydreams; Elvis Costello: The beat; Simple

Minds: Sound in 70 cities BB. D: IA-VIA Duran Duran: Save a prayer; Nik Kershaw: Roses; Madness: Turning

blue BC. A: IC-VIC David Bowie: Golden years; Gentle Giant: Cogs in cogs; Led Zeppelin:

Celebration day; The Look: The beat; Spandau Ballet: True; Supremes: You keep me hanging on; Wedding Present: Something & nothing

CA. C: IC-VC Queen: Killer queen CB. C: VG-IC Derek & Dominos: Anyday CC. A: IA-VA-IVA Gary Moore: Run to your mama DA. F: IC-IVA Madness: The blue-skinned beast DBa. C: IC-IVC Drifters: Under the boardwalk; Peter Gabriel: Wallflower; Love Affair:

Everlasting love; Who: I can see for miles DBb. C: IVC-IC Beatles: I am the walrus DBc. C: IA-WA Abba: Summer night city; Bon Jovi: Wild is the wind DC. A: IA-VIA Big Country: Girl with grey eyes DD. A: IA-IVA-VIC Madness: One better day DE. C: IC-VIA-VIIA-VIA A Procol Harum: Nothing but the truth




DF. A: IA-VIA-VIIA-VA-IA Alice Cooper: Poison EAa. C: IC-IIIC Four Tops: Reach out; Pink Floyd: Free four EAb. C: IA-IIIA Level 42: Lying still EAc. A: IC-IIIC Eric Clapton: Easy now; Petula Clark: Don't sleep in the subway; Jam:

Man in the corner shop; Kinks: Days; Simon & Garfunkel: Mrs Robinson; Who: Pinball wizard

EAd. C: IIIC-IC Phil Collins: Behind the lines; Hand in hand EAe. A: IA-IIIC Barclay James Harvest: Summer soldier; Fleetwood Mac: You make

loving fun; Gentle Giant: Take me; Jam: Butterfly collector; Madness: Not home today; Gary Moore: Rest in peace; Slade: Far far away

EAe. A: IA-IIIA Bon Jovi: Born to be my baby FAa. C: IC-IIA David Bowie: Ziggy Stardust FAb. F: IC-IIC Beach Boys: Don't worry baby; Fine Young Cannibals: Don't look back;

Gary Moore: Really gonna rock; Roxy Music: Dance away; Jimmy Ruffin: What becomes of the brokenhearted?; Supertramp: Asylum; T'Pau: Only the lonely

FAc. A: IA-IIA Jethro Tull: Something's on the move; Simple Minds: Theme for great cities

FB. C: IA-bIIA-IIA-VIIA Madness: Tiptoes GAa. C: IC-IA Beatles: Here there & everywhere GAb. C: IA-IC Derek & Dominos: Why does love got to be so sad HA. A: IIC-IIIC-IC Beatles: Lucy in the sky with diamonds

Class N: Progressive modulations

AA. C: IC-IIC After the fire: Laser love; Bon Jovi: I'll be there for you; David Bowie: Soul love; Johnny Burnette: Dreamin'; Phil Collins: It don't matter to me; Motor- head: Damage case; Police: So lonely; Tina Turner: Be tender with me baby; Vapors: Somehow

ABa. A: IA-IIA Stevie Wonder: Golden lady ABb. E: IC-IIC Beach Boys: I get around; Dave Clark Five: Glad all over; Emerson Lake

& Powell: Learning how to fly; Fourmost: Hello little girl; Freddie & Dreamers: I'm telling you; Isley Brothers: I guess I'll always love you; Jam: English rose; Nik Kershaw: Wild horses; Love Affair: Wake me I am dreaming; Supremes: The happening; Stevie Wonder: For once in my life

ABc. E: ID-IID Nik Kershaw: The riddle AC. A: IC-IIC-IIIC-IVC Who: My generation BA. C: IC-IIIC Diana Ross: Ain't no mountain high enough BB. A: IC-IIIC Doors: Hello I love you BC. D: IA-IIIA-VA-VIA Siouxsie & Banshees: Playground twist CA. C: IC-IVC Eric Clapton: Give me strength; Eagles: Already gone CB. C: IA-IVA Gentle Giant: It's only goodbye DA. C: IE-VE Stevie Wonder: Jesus children of America EA. A: IC-VIC Beach Boys: Wouldn't it be nice EB. F: IC-VIC-IVC Jethro Tull: Son EC. A: IC-VIC-IVC-VC Genesis: Afterglow FA. C: IC-VIIC-bIC Five Star: Rain or shine IA. C: IVC-IC-IIC Dexy's Midnight Runners: Come on Eileen JA. C: VC-IC-IVC-IC-IIC Queen: Bohemian rhapsody



106 Allan Moore

Class O: Wandering/chromatic modality Beatles: Penny Lane; Be-Bop Deluxe: Blazing apostles; David Bowie: Life on Mars; Neneh Cherry: Manchild; Doors: Touch me; Emerson Lake & Powell: The miracle; Step aside; Genesis: All in a mouse's night; Gentle Giant: So sincere; George Harrison: Beware of darkness; Icicle Works: Who do you want for your love; Jam: Going underground; Nik Kershaw: City of angels; Easy; Know how; You might; Madness: Keep moving; March of the gherkins; Samantha; Sunday morning; Waltz into mischief; Orchestral Manoeuvres: If you leave; Procol Harum: Salty Dog; Queen: Bicycle race; Roxy Music: Manifesto; Supertramp: Dreamer; XTC: Another satellite; Season cycle



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Patterns in Harmony