Allan Moore - Patterns of Harmony

Patterns of Harmony Author(s): Allan Moore Source: Popular Music, Vol. 11, No. 1 (Jan., 1992), pp. 73-106 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/853228 Accessed: 15/06/2010 08:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=cup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

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PopularMusic (1992) Volume 11/1

Patterns

of

harmony

ALLAN MOORE

Introduction Thereare two seeminglyself-evidenttruthsconcerningthe harmonicpracticesof popularmusic. The first, which finds clearexpressionin Adorno,is that such music'sharmoniclanguageis both detrimentally limitedand static.Theharmonic repertoireis consideredto consistof a few formulae(Adornodealswith themin termsof standardisation: see Middleton1990,p. 45ff.),by meansof whichsongwritersstringtogethertheir songs, uninfluencedby the song's content.Forthe expertlistener,therefore,popularmusic should be uninteresting:it is only its psycho-economic dimensionwhichmakesit worthyof study.Thistendsalsoto be the conclusionof establishedmusicology,exceptthat thereit is felt such 'extramusical'speculationis best left to the sociologist.The second truthis that the differencesbetweenAfro-American-derived stylesarematerial,sinceouridentities are so stronglyincorporated in the styleswe use: We mark out the differencesbetween genres and styles partlyby referenceto contrastsin the way this stock of techniques and sounds is used. (Middleton1990, p. 88)

Sinceharmonyis not onlyat theforefrontof traditional analyticalinvestigation,but alsoformsan importantinitialfocusforsongwriters,it maywellbe assumedthatit is thereforean importantfactorin enablingus to distinguish,for example,'rock' from'pop'from'soul'. However,the materialrealitybehindthese differencesof style has rarelybeen subjectto systematicinvestigation. I havelong feltthatthesetwinbeliefsarethe resultof speculationratherthan analyticalinsight,andthe datapresentedherein the appendixis intendedto shed some light on the harmonicnatureof such music. The data collectionexercise began as a pedagogicaltool, aimed at enablingab initiostudentsto acquirethe beginningsof a sense of harmony.It is presentedwith this aimstillverymuchin mind, and it may thereforebe of use to some readersof this journal.Needlessto say, the taskis barelyunderway. Asidefromenablingme to respondto theseselfevidenttruths,the practiceof categorisingthe datahas raiseda numberof important questions,considerationof whichmightbe bypassedby thosenot particularly musicallyliterate. I have subjecteda wide varietyof rock/pop/soulto harmonicanalysisso far. Some songs may be ratherunfamiliarto some readers,and the rangeperhaps unbalanced.The musicused here has been almostrandomlychosen,but with a primaryconcernto evade the implicitconstructionof a centralcanon. I have decidedto make this work publicat this time both for its pedagogicvalue and becausethe rangeof data seems to be largeenoughto begin to supportconclusions, althoughthe exerciseclearlyrequiresextendingbeforesuchconclusionscan be consideredproperlydefinitive. 73

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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 functionalharmony(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 classicalfunctionalharmony operate:indeed, it will become clearthat they cannot. The patterns should be largely self-explanatory:they relate only to portions of songs, sometimes verses, sometimes refrains, occasionally link and bridge passages, depending on the characteristicsof each individual song. (Manysongs therefore appear in two or even three places.) Although regularity of harmonic movement within a patternmay indeed act as a norm, this should not be assumed a przorz. 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 Aare essentially modal melodies over a (tonic) drone, whether occurringduring an instrumentalsolo, a verse or a refrain;groups beginning B- identify the same over clear descending bass lines; groups beginning C- cover alternationsbetween two forms of tonic. Classes B to G are essentially concerned with the distance of the initial move away from the pattern'stonic. In addition, classes B and C include stepwise moves from a pattern'sinitialharmony 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)combinationslikewise 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-cyclicordering. 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 incorporatesat 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 occurringmore than once), class N linearones. In both, patternsare 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-letteralphabetic code. This is to enable crossreferencing, to which I shall returnin a moment. The general rationalebehind 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 startingIV-I-, those beginning ABC- have patterns starting I-V-II-,those beginning ABDstart I-V-III-,and so on, in a fairlylogical manner. Where it is necessary to further differentiate patterns, and especially where the same pattern appears within a differentmode (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-VIIcan be referred to as CDAa. The initial 'C' refers to the

Patterns of harmony

75

class 'stepwise ascending harmony', while 'DAa' referencesthe patternwithin that class. The code CIAbwhich appears in bracketsis a cross-referenceto the Aeolian pattern VI-VII-I,which it strongly resembles. Patternshave not been exhaustively cross-referenced:I have concentratedon those I have found of most practicalvalue. Classes have been derived pragmaticallyin 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, requirea little more explanation, in that roman numerals refernot to harmonies founded on a particularscaledegree, but to an entire mode founded on that scale-degree. Thus, group MAA indicates a modulation downwards of one tone (Mixolydiandegree I to degree VII) between two Ionianmodes. GroupMDD is more complex:it indicatesa 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 patternI root - I first inversion - IV root - V root appearssimply 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 texturalbass is neither a harmonicpitch, nor a passing-note, both of which are necessarilyignored 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'sbass lines from Sgt. Pepper. . . will illustrate. On 'A LittleHelp FromMy 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 disturbingthe harmony's identity. On 'Fixing a Hole', he alternates tonic and dominant pitches beneath a sequence essentially alternatingtonic and subdominantharmonies, but the repetitive nature of his line dislocatesit fromthe harpsichord'sharmonicsequence, again without disturbingthe pattern'sidentity at the centre of the song. A similarcase 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 Vll. In these and other similarlyambiguous cases, the harmoniclayer in the centre of the texturehas been deemed to have greaterinfluence over the identificationof the harmony than the, timbrallydistinct, 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 cyclicallychanging pattern, as follows: Lydian TTTSTTS Ionian (equivalent to 'major')TTSTTTS MixolydianTTSTTST Dorian TSTTTST Aeolian ('naturalminor') TSTTSTT Phrygian STTTSTT LocrianSTTSTTT Other writers have suggested that popular music makes use of modes (as reported in Middleton, pp. 198, 200), but have not suggested the thoroughgoingadoption of

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a modal system. Note that I have added, for pragmaticreasons, a 'chromatic'mode (purely for class A) and a 'harmonic minor', i.e. Aeolian with semitonallysharpened 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: harmonicminor;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 analyticalbenefit 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 chromaticmodal changes are applied specificallyand 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 claritycan particularly be observed with those patterns conventionally considered either majoror 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 (CEG#B)is represented by +; majorseventh (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 °. Chords superscriptedby 4, 6 or 7 are strictmodal additions of these scale-degreesto triads;superscriptOfT refersto an added sharpened fourth. I have also used superscriptsto modify triad quality from that expected within the mode, as follows: majoris representedby '; minor by -; augmented by ";diminished by =. In relation to jazz theory, it should be noted that common jazz substitutions (such as bIIfor V) have not been found. Substitutions are found, however, the commonest being for triads whose root is a modal third distant (i.e. IIIfor V, or IV for II). Of course, substitutions as such can only be recognised where the basic pattern undergoes repetition. Any system of classificationhas 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 crossreferenced to other, very similar, patterns, the group number for these latter appearing in bracketsafter the former. Classification This work provides some basic grounds for the considerationof popular harmonic practice prior to the identification of stylistic difference along the rock/pop/soul continuum. The very job of offering a means of classificationfor 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 harmonicpatternsacting as hooks (Burns1987).The method I have adopted here seems most economical, but it also raises certainissues, which are not subject to objective determination:I offer this materialin the light of the

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growing acceptance of Nicholas Cook's suggestion that analyticaljudgements are of necessity interpretations,ratherthan 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/soulmusic 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, particularlythose 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 referenceto the songs chosen, but depends somewhat on the subjective response of an experienced and knowledgeable 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 ratherthan their relationships.And yet, as ethnomusicologiststell us, there seems to be no musical system in which hierarchiesof importancedo not operate: even Arnold Schoenberg'sinfamous twelve-tone method admits of pitch hierarchies in practice (see Moore 1990, chap. 3). We need to rememberthat: If there are importantsystems in the world that are complex without being hierarchic,they may to a considerableextent escape our obsewation and understanding. (Simon 1962, p. 477)

Therefore, sheet music nomenclature should not deafen us to the fact that hierarchicalrelationshipsexist, and these clearlymust be predicatedon the identification of a tonic. In classicaltonal theory, pitch-collection(i.e. the identificationof the major/minorscale in operation at any particularpoint) 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 particularharmonywithin a patternis 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 criteriathat seem to operateare essentially those of metric, rhythmic and accentualmodes of stress as developed by JonathanKramer (1988). Simply put, a tonic is likely to persist longer than temporally adjacent chords, is likely to begin or end a pattern (particularlycoinciding with structural divisions in the lyrics), and is likely to receive an attackmore emphasised (whether by simple accent, or by change of timbre or density) than that of its temporal neighbours. A difficultapplicationof this technique is well exemplified by Simple Minds' 'Soul Crying Out' (from StreetFightingYears).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 preparationfor 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 simplest level, Abba's 'MamaMia'will stand for countless other cases (see Example1). The refrainuses an Ionian I-IVpattern.This is repeated twice for the firsthalf 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

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arrival is on beat three of bar three, beat two containing a Mixolydian VII9, harmonisingthe main vocal pitch through the backingvocal, this chord then acting as a double appoggiaturato the third beat. The problem here is one of degree of importance.It seems extravagantto raise the status of a single-beatdouble appoggiaturato that of a chord:again, it is important to insist on the operation of levels of hierarchicstructure. More usefully, Abba's 'MamaMia' can be compared to FrederickKnight's 'I've been Lonely for so Long' (Example 2), which uses the same pattern and equivalent durations, but whose harmoniceffect is very different, partlybecause 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 harmonicpatternsare merely formulae.Thatis the least interesting aspect of them. Denial of this point would ultimately entail acceptance of the absurd notion that all common-practicetonal works were merely formulaic, because their backgroundsare formed by SchenkerianUrsatze. 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-Iprogression, which it repeats a further two times, at levels represented by the cyclic Mixolydian I-IV-VIIprogression. This seems such a striking example, that I have included it in the appendix under both categories. Here, it is clearlynot extravagantto consider the formersequence 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

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Patterns of harmony

79

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 illustratedthrough examples. Cream's 'Sunshine of Your Love' represents the archetypalrock riff. It is used, however, to clearly outline a simple Dorian I-IV-I,forming the first eight bars of a twelve-barblues 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 triadicinferenceis necessary. As Example3 shows, both guitar and bass outline a MixolydianI-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 triadicinferenceis justifiedhere, but only just. Guitar

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Talking Heads' 'There must be a Place' (from Speaking in Tongues) presents a differentsort of problem, as outlined in Example4. 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 categorisedit accordingto 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 guitarbegins 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 .

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Conclusions Withinany 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. Remainingin place for any length leads to drone-based music, a common backgroundin 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-IIor 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

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Allan Moore

which alternatebetween two chords which cannot be found within the same mode (see groups DABd-DABg) tend to be particularlystriking. Of all pattern types, those beginning with fourths are most numerous. Here, alternationsabound, as do sequences beginning in this way and continuing with other intervals. However, patterns continuing furtherin cyclic fashion (i.e. around the cycle of fifths) are so numerous that I have classified them separately. Throughoutall these sequences, the differencebetween 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 particularexamples 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 acquirein 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 carrysimilar connotations. One importantissue which this study may ultimatelyfurtheris the status of a generative theory of rock/pop/soul harmony. Such theories have already been offered for both jazz (Steedman 1984;Perlmanand Greenblatt1981)and commonpracticetonality (Keiler1981;Lerdahland Jackendoff1983).Middletonhas recently pursued this matter, directly applying Steedman's transformationalrules (Steedman 1984), and suggesting that all such transformationalgrammarsmay depend on the deepest principle, 'that of tonic/not-tonicdifferentiation'(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-cyclesby (recursive)substitution of modal mediant-relatedchords and elisions of consecutive cyclic steps. Three simple examples can show this derivation. The 'Standby me' changes (sub-groupDBA) generates I-VI-IV-Vfrom I-I-IVV through substitutionof VI for I. Sub-groupCBGgenerates I-II-IV-Ifrom I-VII-IVI through substitution of II for VII. Less simply, sub-group DBI generates I-VI-IIIthrough the substitution of VI for I and the elision of VII-IV-I VIIfrom I-I-V-VII-IV 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-Vll-I9for the verse, and Ionian I-IV-II-Vand Aeolian I-VIIV7-VIIfor the refrain. These patterns undergo relative transposition, to yield the (repeated)-C-Ab-F-Bb-(repeated)-d-gsequence: d-g-C-F-(repeated)-Eb-Ab-F-Bbetc. (where lower case representsminor triad).The first patternis simply cyclic, the second is cyclic startingfrom its midpoint, such that its naturebecomes clearas it is repeated, while the third is a transformationof the cyclicV-V-I-IV.The patternsare joined by elisions, such that transferringthem to a single frameof reference(letting I = F) yields: -V-III-I-IV, VI-II-V-I-VII-III-I-IV derived from a cycle of fifths, i.e.: I-IV. VI-II-V-I(-IV)-VII-III-I-IV(-II)-Vmay be most common where separate patelisions such that It may be surmised work remains to be done in this area, further much course, Of conjoined. are terns although it would seem that the assumption of a fifth-cyclicbase may be more elegant than the simple tonic/not-tonicbinary choice, and also more responsive to

Patternsof harmony

81

hierarchicalinterpretation.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/soulmusic 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/soultends 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, frequentlygoes no furtherthan the stringing together of a series of discrete harmonies, particularlyoft-used successions of which act as Adorno's formulae(Adorno 1941).Many songwritersseem to accept this formulaicmodel of harmonicpatterns. 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 McCartneyechoed this: Johnand I . . . were quite happy to nick things off people, because . . . you startoff 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 programmefrom which these quotes were taken by telling his audience that: It is not surprisingthat some songs sound familiar,as there are only twelve musical notes with which to write songs . . . That'sit, the sum total of the materialany song-writerhas to play with. (BBCRadio 1: 'Wherethere's a hit, there's a writ', 21 February1989)

Aside from the fact that this gives pitch priorityas the primarydomain, an assumption which is probablymisplaced with all primarilystudio genres, the errorof this belief lies in the concentrationon pitch entities ratherthan relationships.The initial results from my survey suggest two seemingly paradoxical,but vital conclusions. Contraryto received opinion, there is a great variety of harmonic patterns used along the rock/pop/soulcontinuum (with a range at least as wide as that found in the foregrounds of common-practicetonality, 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 harmonicdifferentiationbetween these styles, and so there are cleargrounds for arguing that there is a singleharmoniclanguagefor rock/pop/soul which, in turn, may serve to differentiate this music from jazzderived popularmusics. This is not to deny stylisticdifferentiation,merely to argue that it is chiefly played out in other domains, particularlythose of rhythm, texture and productiontechniques. Indeed, BrunoNettl suggests that the widespread use of what he considers a simplified form of Western harmony contributesgreatly to the fears of those who decry the homogenisation of popularmusics, but he goes on to argue that other elements combine in the interculturalmix to maintain separate stylistic identities. (Nettl 1985, p. 85)

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References and SocialSciences,9 Adorno, TheodorW. 1941. 'On popular music', Studiesin Philosophy Burns, Gary. 1987. 'A typology of "hooks"in popularrecords',PopularMusic,6/1 Cook, Nicholas. 1989. 'Musictheory and "good comparison":a Viennese perspective',Journalof Music Theory,33/1 ed. WendySteiner, Keiler,Alan. 1981.'Twoviews of musicalsemiotics'in TheSigninMusicandLiterature, 1981(Texas) Kramer,Jonathan.1988. TheTimeof Music(Collier-Macmillan) Theoryof TonalMusic(Massachusetts) Lerdahl,Fred & Jackendoff,Ray. 1983. A Generative (Watson-Guptill) Mehegan, John. 1959.JazzImprovisation Middleton, Richard.1990. StudyingPopularMusic(Open UniversityPress) Moore, Allan. 1990. On the Late ChamberWorksof RobertoGerhard,Ph.D. thesis, University of Southampton Nettl, Bruno. 1985. TheWesternImpacton WorldMusic(Schirmer) Perlman,Alan & Greenblatt,Daniel. 1981. 'Miles Davis meets Noam Chomsky:some observationson ed. Wendy Steiner, jazz improvisationand language structure'in TheSign in MusicandLiterature, 1981 (Texas) Schenker,Heinrich. 1979. DerfreieSatz(trans. and ed. ErnstOster), (Massachusetts) Society, of theAmericanPhilosophical Simon, Herbert.1962. 'The architectureof complexity',Proceedings 106 Steedman, Mark.1984. 'A generativegrammarfor jazz chord sequences', MusicPsychology,2/1

Appendix Generalkey Modes: F: Lydian;C: Ionian;G:Mixolydian;D: Dorian;A: Aeolian; E: Phrygian;B: Locrian;H: Harmonicminor;X: Chromatic Modificationsof triad quality:Major';Minor-; Augmented";Diminished= Intrinsicnon-triads: Strictmodal additions/suspensions:4; 6; 7 Chromaticsuspensions: #4T Chromaticadded sevenths as per jazz theory i.e. Aug+; MajM;Min large; DomX;Minm;Half dim0;Dim° Note that III/V;V/VII;VII/II;II/IV;and IV/VIare frequentlyinterchangeablewithin repetitions of the same pattern. Occasionally,VI/I,I/IIIand II/Vare found too. Jazz substitutions (e.g. bIIfor V) are exceedingly rare. Letters in bracketsafter a sequence indicates a cross-referenceto a closely related pattern. The alphabeticcode (extremeleft-hand side) is explained in the text. ClassA: Staticharmony Sister Andrea AAa. F: Solo LedZeppelin:Dancing days; MahavishnuOrchestra: AAb. G:Solo DerekS Dominos:Tell the truth;Move:Omnibus;PinkFloyd:Obscured by clouds; JohnnyWinter:Funky music AAc. A: Solo Doors:Riders on the storm; EchoS Bunnymen:Higher hell; Fleetwood Mac:Gold dust woman; limi 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; UriahHeep:Gypsy ABa. C: Verse Elvis Costello:Big boys; Living in paradise;PeterGabriel:Rhythm of the heat; TalkingHeads:Moon rocks;Swamp

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ABb. G: Verse CreedenceClearwaterRevival:Commotion; Def Leppard:Pour some sugar on me; Doors:Roadhouse blues; EchoS Bunnymen:Heads will roll; Led Zeppelin:Celebrationday; Nazareth:My white bicycle; U2:Wine ABc. D: Verse Beatles:Love you too; Big Country:The seer; EricClapton:Get ready; Revival:Run through the jungle; MarvinGaye:Right on; Clearwater Creedence Everybodyloves to play the fool; Level42: Coup d'etat;SteveMiller IcicleWorks: band:Out of the night; PinkFloyd:Money; SimpleMinds:Carefulin career ABd. A: Verse Doors:L. A. woman; Not to touch the earth; EchoS Bunnymen: Ripeness; FleetwoodMac:Green Manalishi;Oh well; JuicyLucy:Who do you love; KingCrimson:21st century schizoid man; LedZeppelin:No quarter;Steve Millerband:Fly like an eagle; RoxyMusic:The bogus man; SamS Dave:Soul man; SimpleMinds:League of nations; RutusThomas:Funky chicken; Talking Heads:Girlfriendis better;Slipperypeople AC. G:RefrainTalkingHeads:Take me to the river AD. A: RefrainBeatles:All you need is love; TalkingHeads:I get wild/wild gravity BA. C: 3 steps desc.(DABa)Kinks:Well-respectedman; Santana:All the love of the universe

BB. C:4 steps desc.(FAJa)Beatles:Forno one; Kinks:Sunny afternoon;MeatLoaf:Bat Picturesof Lily out of hell; Mott theHoople:All the young dudes; W710: 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; MoodyBlues:Go now; Tearsfor Fears:Seeds of love BE. C: 6 steps desc. IohnLennon:Mind games BF. C:7 steps desc. ElvisCostello:Oliver'sarmy;ProcolHarum:Whitershade of pale BG. X: 5 steps desc. LedZeppelin:Stairwayto heaven BH. X: 6 steps desc. PinkFloyd:Wots . . . uh the deal CA. D: I7-I6Level42: World machine ClassB: Stepwisedescendingharmony Baby now that I've found you Foundations: AA. C: I-IX-IV-IV--I-II'-IV-V FourTops:Standing in the shadows of love AB. A: I-Im-VI-V TopoD. Bil:Witchitai to AC. C: I-IX-VI-IV-II4-V Babylove Supremes: AD. C: I-IX-VI'-II Afterthefire:Laserlove AE. A: I'-IX-#VI--VI-VII-III-V'-I Bowie:Fashion;Golden years; Scarymonsters; David me; Tell Bangles: I-VII BAa. G: Win;EricClapton:Let it rain;Lonesome & a long way fromhome; Doors:Break on through; Hello I love you; The Fall: Gut of the quantifier; Gerry S Ferrycross the Mersey;lam:All around the world;JethroTull:Old Pacemakers: ghosts; LedZeppelin:Achilles last stand; Madness:Keep moving; GaryMoore: Movin'; SiouxsieS Law of the jungle; Shapes of things; R.E.O. Speedwagon: Banshees:Hong Kong garden; StoneRoses:She bangs the drums; Supertramp: Dreamer; T'Pau:Taking time out; TalkingHeads:Burning down the house; Making flippy floppy; UriahHeep:Dreammare;Van Halen:Dancing in the My generation; Wishbone street; Where have all the good times gone?; W7zo: Uptight Ash:Blowin' free;Time was; StevieWonder: BAb. A: I-VII(CJAb)BarclayJamesHarvest:Medicine man; EricBurdon:When I was young; DeaconBlue:One hundred things; EchoS Bunnymen:Higher hell; In bluer skies; FleetwoodMac: Isn't it midnight; lethro Tull: Flying dutchman;

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AllanMoore 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-VIIDoors:Not to touch the earth;EchoS Bunnymen:Porcupine;Pink Floyd: Hey you BBa.G:I-:VII'-VII-VI'WeddingPresent: Getting nowhere fast AutomaticMan: My pearl BBb.G:I-#VII-VII-IV BC. G:I-VII-III'JethroTull: Batteriesnot included BDa. G:I-VII-VIMission: Stay with me; Toyah:Birdin flight;Johnny Winter:Nothing left BDb. A: I-VII-VIAll About Eve: December;Tuesday's child; BarclayJames Harvest: Forno one; Mockingbird;Summersoldier;Big Country:East of Eden;Flameof 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;FleetwoodMac: 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; WishboneAsh: Sometime world BDc. E:I-VII-VIIsaac Hayes: Theme from 'Shaft' BDd. A: I'-VII-VIBoomtownRats: The normal people; Madness: Samantha;Motorhead:Overkill;Supremes:You keep me hanging on BEa.A: I-VII-VI-VBarclayJamesHarvest:After the day; Peter Gabriel:Games without frontiers;Al Stewart:Broadwayhotel BEb.A: I'-VII-VI-V'Four Tops:Bernadette;Ventures:Walk don't run BEc. G: I-VII-VI-V'Pink Floyd: Matildamother; Uriah Heep: Circleof hands; Vapors: Waitingfor the weekend BEd.A: I-VII-VI-V'HerbAlpert:Jerusalem;Animals: Don't let me be misunderstood; Beatles:I'llbe 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 S 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: VictoriaGardens BEg. A: I'-VII-VI-V'Who:Pinballwizard Fine Young Cannibals:As hard as it is BEh. C: I-VII--VI-V-IV-III-II-V BF. D: I-VII-VI--#VIIJam:Beat surrender BGa. A: I-VII-VI-IVEagles:One of these nights; Mission: Deliverance OrchestralManoeurres:Dreaming BGb. G:I-VII-VI-IV-V' Derek S Dominos: Why does love got to be so sad BH. A: I-VII-VI-III-V' Moody Blues: Nights in white satin BI. E: I-VII'-VI-III-II-I 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'-VRoxy Music: Chance meeting BKa.D: I-VII-bV'-VI'Toyah:Triballook BKb. G:I-VII-V'-VI' David Bowie:Red sails

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BLa.G: I-VII-V'-IVGerryRafferty:BakerStreet;RoxyMusic:Ladytron LedZeppelin:The ocean BLb.G:I-VII-V'-IV-V'-I BMa.A: I-VII-V-IBig Country:The red fox BMb. A: I-VII-V'-IBarclayJamesHarvest:Crazy city; Genesis:Eleventh earl of Mar; GeorgeHarrison: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 SheilaWalsh:Under the gun BNb. A: I-VII-IV-VII All AboutEve:Only one reason BO. A: I-VII-IV-VI-V BPa. G:I-VII-IV-VElvisCostello:Sunday's best; MarvinGaye:Wholy holy BPb.A: I-VII-IV-V'KingCrimson:Epitaph Toyah:Visions BQa. D: I'-VII-IV-III Blood brother Mission: BQb. A: I-VII-IV'-III The riddle Kershaw: Nik I-VII-III-IV BR. D: BSa. A: I'-VII-II--VIToyah:Racethrough space Ever fallen in love FineYoungCannibals: BSb. E: I-VII'-II-VI-VII' PeterGabriel:Modern love BT.A: I'-VII-I'-VI-IV'-VII PeterGabriel:I don't remember CA. E: I-VI-III-IV-III-II RollingStones:Angie DA. A: I-V'-VII-VI-III DB. G:I-V-VII-IV(FAQ)BobDylan:Lay lady lay FourTops:Walkaway Renee DC. G:I-V'-VII-II-IV--I DD. C: I-V-VIA-Ha:Take on me; Beatles:All you need is love PercySledge:When a man loves a woman; Van der Graaf DE. C: I-V-VI-V-IV-V-I Refugees Generator: PeterGabriel:Here comes the flood DF. C: I-V-VI-V-III'-VI America DG. C: I-V-VI-I-IVDoc Browne:Piano man; SimonS Garfunkel: ElvisCostello:There's no action DH. C: I-V-VI-I-IV-II-V Goodbye to love Carpenters: EA. C: I-V-IX-IV-IV--I-IIx-V BeachBoys:Californiagirls FA. A: I'-II--VII-I-VI-VII--I GAa. C:II-IPhilCollins:If leaving me is easy; JohnLennon:Power to the people; Tina Turner:I don't wanna lose you GAb. E: II-IPhil Collins:If leaving me is easy; SiouxsieS Banshees:Christine;Johnny Winter:No time to live GB. D: II--I-V-IV-DeepPurple:Hard lovin' man HA. D: III-II-I'XTC:The meeting place GeorgeHarrison:Awaiting on you all IAa. C: IV-III-II-I TalkingHeads:Warningsign IAb. C:IV-III'-IIt-I JA. C:IV-I-V-IVPeterGabriel:San Jacinto EricClapton:Another ticket KA. C:VX-I-II-I LA. C: VI-V-IV-IBig Country:Chance;ArthurConley:Sweet soul music; ThinLizzy: Dancing in the moonlight LB. A: #VI--VI-I-VIIKinks:Dead End Street MA. C:V-IV-II-IByrds:Mr Spaceman PinkFloyd:Intersteller(sic) overdrive MB. C:V-bV-IV-III'-bIII'-II'-I NA. G:VII-II-ISimpleMinds:Soul crying out Hideinyour shell; Who:Let's see action NB. G:VII-VI-ISupertramp: JimiHendrix:Spanish castle magic NC. A: VII-bVII'-VI-V'-I

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Class C: Stepwiseascending harmony

AA. C: I°-IPeter 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; LedZeppelin:The rain song BAa. F: I-II FleetwoodMac: Dreams; Mission: Let sleeping dogs lie; Stevie Wonder: Don't you worry 'bout a thing BAb. C:I-IIDeacon Blue:Silhouette;Madness:In the rain;Wham:Wakeme up before you go-go BAc. D: I-IIStevie Wonder:Visions BAd. E: I-IIMadness: Are you coming; Shadow of fear;Pink Floyd: The trial; Talking Heads: I get wild/wild gravity BAe. A: I-II°Specials:Ghost town BAf. E: I'-IIJeffersonAirplane:White rabbit BAg. B: I'-IIDavid Bowie:Yassassin BAh. F: I-II-II0Beatles:I want to tell you BAi. G:I-II'-II-IV--V'ElectricLight Orchestra:Turn to stone BB. F: I-II-III'W71O: See me feel me BCa. E: I-II-III-IIVan 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 GraafGenerator:Darkness BDe. C:I-II-III-IV-V Band:I shall be released BDf. C: I-II-III-VOrchestralManoeurres: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'-VIIMotorhead:Metropolis BFa.C:I-II-IVThin Lizzy: The boys are back in town BF7b. A: I-II'-IVMove: BlackberryWay BGa.C: I-II-IV-IBeatles: And your bird can sing; Genesis: Your own special way; GeorgeHarrison:All things must pass; Rod Stewart:Maggie May BGb.D: I-II-IV-ISantana:Just in time to see the sun BGc.C: I-II'-IV-IBeatles: Eight days a week; Eric Clapton: Another ticket; George Harrison:Isn't a pity; Let it down; Jam:Butterflycollector;English rose; Move: Brontosaurus;Pink Floyd:Braindamage;ProcolHarum:Homburg;Roxy Music: Beautyqueen; Vapors:Trains;Van der GraafGenerator:Whateverwould Robert have said? BGd.C: I-II'-IV--IMarvin Gaye S TammiTerrell:You'reall I need to get by BHa.C: I-II-IV-VBe-BopDeluxe: Ships in the night; David Bowie:Young Americans; Jam: Away from the numbers; Billy Joel: Leningrad;Maria McKee: Show me heaven; XTC: Sacrificialbonfire BHb.C: I-II'-IV-VTalkingHeads:The big country BHc.C: I-II'-IV-V-IBonzo Dog Band: I'm the urban spaceman; Eric Burdon:Its my life; Eric Clapton: Lovin' you lovin' me; Eguals: Viva Bobby Joe; Roxy Music: Would you believe?; Vapors:Cold war BI.E: I'-II-IV'-VII'-bV'-VI Pink Floyd:LuciferSam

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BJ.F: I-II-V-IByrds:Mr Spaceman BK. C:I-II'-V-IVKinks:You really got me BL. A: I'-II'-VIDavidBowie:Boys keep swinging BMa. G:I-II-VIIDeaconBlue:Fergus sings the blues BMb. G:I-II-VII-IGenesis:Afterglow; Themightbegiants:Whistlingin the dark BN. G:I-II-VII-VBe-BopDeluxe:Heavenly homes CAa. A: I-V-VI-VIIToto:Hold the line CAb. G:I-V'-VI-VIIJimiHendrix:Bold as love DAa. A: I-VI-VII(CIAb) David Bowie:Panic in Detroit; Phil Collins:The roof is leaking; DerekS Dominos:Layla;Dire Straits:Sultans of swing; Fleetwood Mac: Go your own way; Oh well; JethroTull:Pussy willow; PaulMcCartney: Ou est le soleil; GaryMoore:Victimsof the future;GrahamParker:Stickto me; Siouxsie S Banshees: The staircase(mystery) DAb. D: I'-VI--VIIMove:Wild tiger woman DAc. A: I'-VI-VIIJam:News of the world EAa. C:II-I-IVMarthaReeves:JimmyMack EAb. C: II-I-IV-VPeterGabriel:Slowburn EAc. A: II--I-IV-V'-VI-VII-I PeterGabriel:Waitingfor the big one EBa.C:II-III-IV-V-I TearsforFears: Everybodywants to rule the world; Wham:Wake me up before you go-go EBb. C:II'-III'-IV-V-I Theymightbegiants:We want a rock ECa. C: II-IV-IBonJovi:I'll be there for you; EmersonLakeS Palmer:Luckyman ECb. C: II'-IV-ILedZeppelin:Bron-y-aurstomp; JohnLennon:Whatever gets you through the night ED. C: II-V-VI-VII--I-II-III' SimpleMinds:Streetfightingyears 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' GentleGiant:Rock climber GB. A: IV'-VI-VII-I'Abba:SOS IAa. G:VI-VII-IPolice:Next to you IAb. A: VI-VII-I(CDAa)Abba:Gimme gimme gimme; Summernight city;ABC:The look of love; Asia:Sole survivor;Beatles:I am the walrus; BonJovi:Born to be my baby;Wild is the wind; EricClapton:I can't stand it; ElvisCostello:The beat; DeaconBlue:The world is lit by lightning; DeepPurple:Child in time; Livin' wreck; Def Leppard: Women; FleetwoodMac:Caroline;Isn't it midnight; Peter Gabriel:Intruder;Gangof Four:Returnthe gift;JimiHendrix:Voodoo chile;Jam: Eton rifles; JethroTull:Crossfire;Orion; Something's on the move; Madness: Mr Speakergets the word; GaryMoore:Law of the jungle; R.E.O. Speedwagon: Ridin' the storm out; Sad Cafe:Black Rose; SimpleMinds:Sound in 70 cities; Wall of love; SiouxsieS Banshees: The staircase(mystery);RodStewart:Reason to believe; Toto:Georgy porgy;TinaTurner:Foreignaffair;UriahHeep:Walking in your shadow; SheilaWalsh:Thief in the night; JohnnyWinter:Rock & roll hoochie koo IAc. A: VI-VII-I'Beatles:Lady Madonna; Level42: Something about you; Pet Shop Boys: West end girls; Roxy Music: Chance meeting; SecretAffair:Time for action; T. Rex:TelegramSam; TalkingHeads:Artists only; StevieWonder: I was made to love her JAa. G:VII-IBeatles:Tomorrownever knows; Doors:L.A. woman; BryanFerry:The

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'in' crowd; FleetwoodMac: Family Man; LedZeppelin:Hots on for nowhere; SteveMiller band:Shangri-La;NashvilleTeens:Tobacco Road; T'Pau:Taking time out JAb. A: VII-I(BBAb)EmersonLakeS Palmer:Touch & go; FairportConvention: Matty Groves; PeterGabriel:Shock the monkey; JethroTull:WorkingJohn working Joe; King Crimson:21st century schizoid man; LedZeppelin:Immigrantsong; GaryMoore:Nuclear attack;ChrisRea:You must be evil; RoxyMusic:For your pleasure JAc. C:VII'-I-JimiHendrix:One rainy wish JAd. G:VII--IMadness:New Delhi ClassD: Submediant sequences AAa. A: I-bI'-VI-RoxyMusic:Chance meeting AAb. C: I-M-VIGeorgeHarrison:Balladof Sir FrankieCrisp AAc. A: I'-IX-VI-V' PinkFloyd:Eclipse ABa. C: I-VI BoomtownRats:Living in an island; Elvis Costello:Miracleman; You belong to me; DerekS Dominos:Why does love got to be so sad; George Harrison:Awaiting on you all; My sweet lord; BuddyHolly:Maybe baby;Jam: When you're young; John Lennon:Instant karma!;Little Eva: Locomotion; Melanie:Ring the living bell; SteveMillerband:Bongo bongo; Monkees:Goin' down; Searchers: Don't throw your love away; Paul Simon:Slip slidin' away; SmallFaces:Itchycoo Park;Theymightbegiants:Sapphirebullets of pure love; Vapors:TurningJapanese ABb. A: I-VI Beatles:Eleanor Rigby; BoomtownRats: Can't stop; Like clockwork; Living in an island; Rat trap; Cure:Love cats; ThaFall:My new house; FleetwoodMac: Rhiannon; Led Zeppelin:Achilles last stand; Madness:You said; Marillion:Script for a jester's tear; Police:Message in a bottle; Truth hits everybody; ProcolHarum:Conquistador; Roxy Music: Strictly confidential; SiouxsieS 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-VImDoors:Light my fire ABe. A: I-VIMOliviaNewton-John: Let's get physical;ProcolHarum:Conquistador ABf. A: I-VI- KingCrimson:Heartbeat ABg. A: I'-VI DavidBowie:Suffragettecity; Family:In my own time; LedZeppelin: Candy store rock;TransvisionVamp:Down on you AC. G: I-VI-VII-VJam:Absolute beginners;Level42: Something about you ADa. C:I-VI-VII-IVThompsonTwins:Hold me now ADb. A: I-VI-VII-IV Police:Message in a bottle; SimpleMinds:Take a step back AE. A: I-VI-VII-III Smiths:Still ill AF. C: I-VI-bVI-IVRoxyMusic:Ain't that so AGa. C: I-VI-VBig Country:Tall ships go; ElvisCostello:Hand in hand; Lip service; Foundations: Born to live & born to die; BuddyHolly:Maybe baby; Orchestral Manoeurres: So in love; ThinLizzy:Wild one; Vapors:Waitingfor the weekend AGb. A: I'-VIX-V' BillyJoel:Stormfront AGc. H: I-VI-VPeterGabriel:No self control;PeterHammill:Sunshine; GeorgeHarrison:Art of dying; Jam:Precious;Madness:Mr Speaker gets the word; Chris Rea:I just want to be with you; Toto:Takin'it back

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Madness;MichaelCaine AH. A: I'-VI-V'-VII-bV'-IV' AI. C: I-VI-V-VIClash:Something about England Tell me what AJa. C: I-VI-V-IVFineYoungCannibals: PinkFloyd:Us & them AJb. C:I-VI-V"-IV AK. F: I-VI'-V-IIBeatles:Dr Robert AL. A: I-VI-IVAbba:Voulez-vous; JethroTull:Rock island; GaryMoore:Hiroshima; Neil Young:Southern man Jam:That's entertainment AMa. G:I-VI-IV-VII Love bites; GaryMoore: AMb. A: I-VI-IV-VIIBangles:He's got a secret;Def Leppard: Run to your mama Mission:And the dance goes on; TalkingHeads:This must be the ANa. C:I-VI-IV-VII place ANb. A: I-VI-IV'-VII-V'Blondie:Atomic BAa. C:I-VI-IV-V(FDD&IADa)Abba:Mamamia;PaulAnka:Diana;Arrival:Friends; Beatles:Any time at all;I should have known better;BeautifulSouth:I'll sail this ship alone; Song for whoever; BonJovi:I'llbe there for you; Ride cowboy ride; DavidBowie:Ashes to ashes; Cygnet committee;JamesBrown:Try me; Johnny Revival:Lodi; Clearwater Burnette:Dreamin';ElvisCostello:The beat; Creedence DeaconBlue:Circus lights; Love & regret;Diamonds:Little darling;FourTops: Walk away Renee; MarvinGaye:Mercy mercy me; What's going on; Gentle I like it; GeorgeHarrison:Run of the Giant:No stranger;GerryS Pacemakers: I guess I'll mill; WhitneyHouston:I wanna dance with somebody;IsleyBrothers: always love you; Jam:In the city; Man in the cornershop; Strangetown; Billy Joel:Stormfront;BenE. King:Stand by me; LedZeppelin:D'yer mak'er;Frankie Lymon:I'm not a juvenile delinquent;Why do fools fall in love; MeatLoaf:For EnolaGay;If you Manoeurres: crying out loud; Nazareth:Love hurts;Orchestral So leave; PinkFloyd:The thin ice; Elvis Presley:Return to sender; Pretenders: Unchained melody; Roxy special;Queen:Somebody to love; RighteousBrothers: Music:Bitters end; Dance away; Del Shannon:Runaway; SimonS Garfunkel: Mrs Robinson;Theymightbegiants:Luckyball & chain; TinaTurner:The best; VanHalen:Prettywoman; BobbyVee:Rubberball;Take good care of my baby; I'm wondering MartyWilde:Donna; StevieWonder: BAb. A: I-VI-IV-VGaryMoore:Rest in peace BAc. A: I-VI-IV-V'All AboutEve:Dream now Mission:Butterflyon a wheel; SpandauBallet:True BBa. C: I-VI-IV-III EmersonLakeS Palmer:Lay down your guns BBb.C: I-VI-IV-III AdamS Ants:Ant music BBc. C:IbVI-IV-III Wild west hero; Peter BeachBoys:Darlin';ElectricLightOrchestra: BC. C: I-VI-IV-II-V Gabriel:SolsburyHill BDa. C: I-VI-IV-IDavidBowie:Oh you pretty things; Soul love; EricClapton:Let it Revival:Lookingout my back door;RoxyMusic:Sea Clearwater grow; Creedence breezes; RodStewart:Sailing;ThinLizzy:Whisky in the jar;Vapors:Letterfrom Hiro BDb. A: I-VI-IV-IElvisCostello:Lipstickvogue BDc. C: I-VI-IV--I-VBeatles:Any time at all Big Country:The teacher BE. A: I-VI-III-VI BFa. C: I-VI-III-VBeatles:She loves you; DavidBowie:Starman;Family:No mule's fool BFb.A: I-VI-III-VAliceCooper:Poison

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BFc. C: I-VI-III'-VDavidBowie:Prettieststar BG. C: I-VI-III-IV-V TinaTurner:I don't wanna lose you BH. E:I"-VI-III-II-I-V--V' BarclayJamesHarvest:Summersoldier BI. A: I-VI-III-VII(HHA) BeautifulSouth:From under the covers; EmersonLakeS Powell:Love blind; Orchestral Manoeurres: Electricity BJ.E: I-VIT-IIT LedZeppelin:No quarter BKa.C: I-VI-II'-IVDavidBowie:Five years BKb.C: I-VI'-II'-IVGeorgeHarrison:I dig love CA. A: I-VI-IV-III-VII ProcolHarum:The milk of human kindness DA. E:VI-V--II-IFleetwood Mac:Mystified DB. G: bVI-V-I-IV(FAN) ElectricLightOrchestra: The whale EA. A: VI-IV-VII-I(FGA)Big Country:Just a shadow EB. A: VI-IV-I-V(FAHb)EricClapton:Hold me Lord ECa. C: VI-IV-IMeters:Pocky-a-way;Police:Truth hits everybody; SimpleMinds: The American ECb. A: VI-IV-IBarclayJamesHarvest:Paper wings; BobDylan:Slow train coming FA. C:VI-III'-V-IProcolHarum:Ramblingon GA. C:VI-I-V-IVBig Country:Hold the heart GB. A: VI-I-II-III Nik Kershaw: City of angels GCa. C: VI-IBig Country:Fields of fire GCb. A: VI-I Big Country:Look away; PeterGabriel:I have the touch; SteveMiller band:Italian X-Rays;Mission:Garden of delight; TalkingHeads:Pull up the roots GCc. C:VI'-IDavidBowie:Rock'n' roll suicide GCd. A: VIT-IPeterHammill:Solitude GCe. A: VI-I'GeorgeHarrison:Let it down ClassE:Mediantsequences AAa. F: I-IIIBarclayJamesHarvest:She said AAb. A: I-IIIEchoS Bunnymen:Ripeness;PinkFloyd:Pow R. Toc H.; Smiths:Pretty girls make graves; StapleSingers:Respect yourself; UriahHeep:Easy living AAc. C: I-III'Bangles:More than meets the eye AAd. A: I'-IIITalkingHeads:Take me to the river;UriahHeep:Paradise ABa.C:I-III-I-IV-V ElvisCostello:Red shoes ABb.C: I-III'-I-IVSmallFaces:ItchycooPark ACa.G:I-III'-II'-II-V'-VII GeorgeHarrison:Wah wah ACb.A: I-III-II'-bII' Madness:Time for tea ADa.D: I-III-II-IV RoxyMusic:In every dreamhomea heartache;Wishbone Ash:The king will come ADb.D: I-III-II'-IV GaryMoore:Murderin the skies ADc.F: I-III'-II-VBeautifulSouth:I love you (but you're boring) AEa.C: I-III-IVDavidBowie:Rock 'n' roll with me; Icicle Works:Sweet Thursday; Move:BlackberryWay AEb.D: I-III-IVBookerT S MGs:Green onions; EricClapton:After midnight;Jimi Hendrix:Waituntil tomorrow;Mission:Sacrilege;Queen:Another one bites the dust; StevieWonder: Higher ground; Z.Z. Top:La grange AEc.A: I-III-IVSmiths:What difference does it make?; Supertramp: Bloody well right; Wishbone Ash:Leaf & stream

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AEd. D: I'-III-IVJeffBeck:Beck's bolero; CannedHeat:On the road again; BillyJoel: That's not her style; LedZeppelin:Bron-y-aurstomp; Candy store rock; Chris Rea:Your warm & tender love; TinaTurner:Steamy windows; JohnnyWinter: Rock& roll hoochie koo AFa. C:I-III-IV-IBand:The weight AFb. C: I-III'-IV-IJohnnyBurnette:You're sixteen; PinkFloyd:Nobody home Dexy'sMidnightRunners:Come on Eileen AFc. C: I-III-IV-I-V Band:In a station AGa. C: I-III-IV-II AGb. C: I-III'-IV-II'Otis Redding:Dock of the bay W/zo:I'm free AGc. D: I'-III-IV-II-IV-V' Foryour love AH. D: I-III-IV-IV-Yardbirds: Abba:Knowing me knowing you; BeachBoys:I can (GAHa&ICCa) AIa. C:I-III-IV-V hear music; DavidBowie:Ziggy Stardust;EricClapton:Easy now; ElvisCostello: Happy hour; Jam:Down in the tube station at Oliver's army; Housemartins: midnight; Going underground;ManfredMann:Just like a woman; Marmalade: Babymake it soon; ThinLizzy:Waitingfor an alibi;TinaTurner:Be tender with me baby Pay your price AIb. D: I-III-IV-V'Motorhead: AIc. A: I-III-IV-VDuranDuran:Save a prayer AId. C: I-III'-IV-VJohnnyWinter:Ain't that a kindness AIe. A: I-III-IV'-VBarclayJamesHarvest:Crazycity AIf. A: I-III-IV'-bV'Madness:Baggy trousers DavidBowie:Rock'n' roll suicide AIg. C:I-III'-IV-V-VI AJa. A: I-III-IV'-VI(B) Animals:House of the rising sun; ElectricLightOrchestra: Standin' in the rain;JohnnyWinter:Let the music play AJb. D: I'-III-IV-VITalkingHeads:The good thing Beatles:I am the walrus;Meters:I need more time AJc.A: I'-III-IV'-VI-VII-I' Cream:White room; Slade:Shape of things to come AJd. A: I-III-IV'-VI-VII IcicleWorks:Travellingchess AKa. C: I-III'-IV-VII'-I JimiHendrix:Ain't no telling AKb. D: I'-III-IV-VII-V' BA. A: I-III-VAbba:Gimme gimme gimme; Herman'sHermits:No milk today Good thing BBa.A: I-III-V-IVFineYoungCannibals: BBb.A: I-III-V-VISimpleMinds:Let it all come down BC. C: I-III-VIBig Country:Flame of the west; CultureClub:Do you really want to hurt me; JohnLennon:Instant karma! Reflectionsof my life Marmalade: BDa. C:I-III-VI-IX-IV-II-V Lennon:Woman is the nigger of the world John (IPA) I-III'-VI-IX-IV-IV--I C: BDb. DerekS Dominos:Bell-bottomblues BDc. C: I-III'-VI-I-IV-V Beatles:Things we said today BE. E:I-III-VI-II Berlin:Take my breath away BF.C:I-III-VI-III This old heartof mine;JimmyRuffin:Whatbecomes IsleyBrothers: BGa.C:I-III-VI-IV of the brokenhearted Jungle BGb. C: I-III'-VI-IVElectricLightOrchestra: BGc. C: I-III'-VI'-IVTheymightbegiants:Road movie to Berlin Neil Young:Southern man BGd. A: I-III-VI-IV' It's ok; GeorgeHarrison:Awaiting on you all BHa. C:I-III-VI-VFineYoungCannibals: Happy house BHb. A: I-III-VI-V'SiouxsieS Banshees: FleetwoodMac:Littlelies BIa.A: I-III-VI-VII Toto:Rockmaker BIb. G:I-III-VI-VII

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BJa.D: I-III-VIIWishboneAsh: The king will come BJb.A: I-III-VIIDavid Bowie:Wild is the wind; Pink Floyd:Time;Supertramp:Bloody well right BJc.A: I'-III-VIIBoomtownRats: The normal people; Roxy Music: For your pleasure; Re-make/re-model BKa. A: I-III-VII-IBig Country: Lost patrol;Remembranceday; Dead S 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; GaryMoore:Murderin the skies BN. G: I-III--VII-V'Kinks:Tiredof waiting for you CAa. A: III-I'EchoS Bunnymen:Clay;Peter Gabriel:Not one of us CAb. A: III4-I7 Phil Collins: Throughthese 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'-IPlastic Ono Band:Cold Turkey EA. A: III-IV-I-VI Level42: Leaving me now FAa. A: III-VI-IPink Floyd:Another brickin the wall FAb. A: III-VI-I'Motorhead:Overkill GAa. A: III-VII-I(HEA) Def Leppard:Rocket;Peter Hammill: The birds; Police: Roxanne; SimpleMinds: Mandeladay; Toyah:Danced GAb. A: III-VII-I'Elvis Costello:Partygirl;Z.Z. Top:Heard it on the X GB. G:III'-VII-V'-IBe-BopDeluxe: Like an old blues

Class F: Dominant sequences

Aa. F: I-V EmersonLakeS Powell: Learningto 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;TransvisionVamp:The only one; WeddingPresent:All this & more;A million miles; My favouritedress AAc. G: I-V Don Covay: See saw; Echo S Bunnymen: Back of love; Mel S Kim: Respectable;OrchestralManoeurres:Messages; U2:In God's country AAd. A: I-V All About Eve:Dream now; BarclayJamesHarvest:She said; Big Country: Lost patrol;Madness:Not home today; Tiptoes;Pink Floyd: Hey you AAe. H: I-V Echo S Bunnymen:Porcupine;The Fall: Spoilt Victorianchild; Madness: Take it or leave it; Turningblue; Motorhead:Stay clean; Rolling Stones: Paint it black AAf. C: I-V" ElectricLight Orchestra:Starlight AAg. B: I--V Van Halen: Intruder ABa. C: I-V-I Abba: Take a chance on me; Beatles: Yellow submarine; Creedence ClearwaterRevival:Have you seen the rain;Up around the bend; Family:In my own time; Jam:A bomb in WardourStreet;Rattles: Sunshine every day; Thin Lizzy: Killeron the loose; W/zo: Happy Jack ABb. H: I-V-IBob 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

Patterns of harmony

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ACb.F: I-V-II-VMove: Yellow rainbow ACc. C: I-V-II-VEagles: Tequila sunrise; Peter Hammill: Candle; T'Pau: Only the lonely Eric Clapton:Let it grow ADa. A: I-V'-III-IV'-VI-VII Damage case Motorhead: ADb. A: I-V'-III-VII Chance; David Bowie: Queen Bitch; Ziggy Country: Big (HAE) AEa. C: I-V-IV rain; Def Leppard:Run riot; Derek S would it wish I Collins: Phil Stardust; 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-BI Eric Clapton:I can't stand it AFa. C: I-V-IV-II-VT'Pau: Only the lonely AFb. A: I-V-IV-II-VLoveAffair:Everlastinglove AG. D: I-V-IV-IIIGenesis:Blood on the rooftops AHa. C: I-V-IV-VBeach 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; FleetwoodMac: I don't want to know; GeorgeHarrison: Apple scruffs; Jonathan King: Everyone's gone to the moon; Led Zeppelin: Tangerine;Love Affair: Lincoln County; Madness: Marchof the gherkins;VictoriaGardens;Mott the Hoople:Roll away the stone; Queen/DavidBowie:Under pressure;T'Pau: Secret garden; Vapors:News at ten AHb. A: I-V-IV-V(DEB)BeachBoys: Good vibrations;Phil Collins:This must be love; Gentle Giant: Aspirations;Nik Kershaw:Wide boy AI. C: I-V-VI-I(BD) CreedenceClearwaterRevival: Proud Mary; Stevie Wonder:He's MisstraKnow-it-all (ABB)Elvis Costello:There's no action; Slade:Farfar away AJa. C: I-V-VI-I-IV-II-V Disappear Madness: I-V-VI-I-IV-V-I C: AJb. AK. F: I-V-VI-II(B) Blondie:Atomic;Byrds:I'll feel a whole lot better XTC: Balletfor a rainy day ALa. C:I-V-VI-III-IV Gentle Giant: Cogs in cogs ALb. C: I-V-VI'-III-IV Madness:Rise & fall AM. A: I-V'-VI-III'-VII 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:Takeme home country roads; Orchestral Manoeurres: Tesla girls; Police: So lonely; Smiths:Reel around the fountain; Vapors:Somehow Billy Joel:State of grace ANb. E:I'-V'-VI-IV--II-V'-I ANc. C: I-V-VI-IV-VDerekS Dominos: Bell-bottomblues AOa. C: I-V-VI-V(GBB)Leo Sayer:When I need you Police: Roxanne AOb. A: I-VI-V-IV-VII-I APa. A: I-V-VIILevel 42: Physical presence; Smiths: You've got everything now; Thin Lizzy: Waitingfor an alibi; WishboneAsh: Warrior APb. G:I-V'-VIIJimi Hendrix:If six was nine; Toto:Manuelarun (BDB)Toto:Angela AQ. A: I'-V'-VII-IV-VII Race through space Toyah: AR. A: I'-V'-VII-VI Autumn almanac Kinks: BA. C:II-V-I-V(ILA) Crossfire Tull: Jethro BB. E:II--VII-V--I

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DBa. C: IV-V-I(GAHa) Elvis Costello:This year's girl; Eagles:Take it to the limit; Marvin Gaye S TammiTerrell:It takes two; Peter Gabriel:Kiss of life; Nik Kershaw:You might; Nazareth:Broken down angel; OrchestralManoeurres: Souvenir;PinkFloyd:Vera;ChrisRea:Tell me there's a heaven; Vapors:Waiting for the weekend; JuniorWalker: How sweet it is; Who:I'm a boy; StevieWonder: Living in the city DBb. A: IV-V-I FleetwoodMac: Big love; Oh Daddy; David McWilliams:Days of Pearly Spencer;Toto:Hold the line DBc. A: IV-V-V'-IPaulMcCartney: Distractions DC. C: IV-V-I-III'(EDAa)JohnLennon:Imagine DD. C: IV-V-I-VI(DBAa) BarclayJamesHarvest:Galadriel;David Bowie:Ashes to ashes; Creedence Clearwater Revival:Have you ever seen the rain;KylieMinogue: Turn it into love; R.E.O. Speedwagon: Son of a poor man; ChrisRea:Daytona EAa. C: V-I Byrds:Turn! turn! turn!; DeepPurple:Into the fire; JohnLennon:Give peace a chance; Pink Floyd:Chapter 24; R.E.O. Speedwagon: Whiskey night; Z.Z. Top:Francine EAb. A: V-I KateBush:Strangephenomena EAc. H: V-I VanderGraafGenerator: White hammer FA. C:V-VI-IRoxyMusic:Spin me round FB. C:V-VI-IV-V-IBeachBoys:Breakaway GA. A: VI-IV-V-I(DEA)Police:I can't stand losing you GBa. C: VI-V-IBeautif7X1 South:You keep it all in; Fine YoungCannibals: Don't let it get you down GBb.H: VI-V-IShockingBlue:Venus; TinaTurner:Undercoveragent for the blues HA. G:VII-V-IJam:Smithers-Jones ClassG: Subdominant sequences AAa. C: I-I--IVLedZeppelin:The rain song AAb. C: I-I=-IVGeorgeHarrison:Isn't it a pity AAc. C: I-IX-IV (B) Fleetwood Mac:Welcome to the room . . . Sara AAd. C: I-IX-IV-IVIcicleWorks:When you were mine AAe. C: I-F-N GeorgeHarrison:Isn't it a pity AAf. C: I-IM-IX-IV Phil Collins:Don't let him steal your heart away; ElectricLight Orchestra: Steppin' out AAg.C: I-IX-IV-I°-I GeorgeHarrison:I dig love ABa. C: I-N Abba:Mama mia; Beatles:Lady Madonna; Revolution;Be-BopDeluxe: Blazing apostles; Fair exchange; Like an old blues; Big Country:Angle Park; Close action; BloodSweatS Tears:Hi-de-ho; Byrds:Chimes of freedom; Mr Tambourineman; Eric Clapton:Motherless children; Dave ClarkFive:Bits & pieces; Glad all over; Phil Collins:Like china; Elvis Costello:Pay it back; Creedence Clearwater Revival:Hey tonight; DeaconBlue:Wages day; Your constant heart; Def Leppard: Excitable;Donovan:Colours; EddieFloyd:Bring it on home to me; ArethaFranklin:Respect;PeterGabriel:Biko;PeterHammill:Child; Viking;Frederick Knight:I've been lonely for so long; JeanKnight:Mr. Big Stuff; JohnLennon:Imagine;McGuinnessFlint:When I'm dead and gone; MeatLoaf: You took the words right out of my mouth; SteveMillerband:Who do you love; Nazareth:lthis flight tonight;JohnOtwayS WildWillyBarrett:Reallyfree; WilsonPickett:In the midnight hour; PinkFloyd:In the flesh?;R.E.O. Speedwa-

Patterns of harmony

95

gon:Find my fortune;Starta new life; LouReed:Walkon the wild side; Rolling Stones:Fool to cry; Santana:Song of the wind; SecretAffair:Time for action; Selecter:On my radio; T. Rex:TelegramSam; Temptations: Ain't too proud to beg; Them:Here comes the night; Theymightbegiants:Birdhousein your soul; Letterbox;U2:MLK;Running to stand still ABb. D: I-IV Bee Gees:Stayin' alive; Marvin Gaye:Inner city blues; Haircut100: Favouriteshirts;Hue S Cry:Labourof love; PaulMcCartney: 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; SwingingBlueJeans:You're no good ABc. A: I-IV KateBush:James & the cold gun; Doors:People are strange; King Crimson:Book of Saturday ABd. G:IX-IVX ElvisCostello:Pump it up; TalkingHeads:Found a job ABe. C:I-IV-IBig Country:Tall ships go; EricClapton:MainlineFlorida;Phil Collins: Behind the lines; SteveMillerband:Jet air liner ACa. C: I-IV-I-V-IAmenCorner:Hello Susie; Elvis Costello:Busy bodies; Fleetwood Mac:Second hand news ACb. C:I-IV-I-V-TV-I (KAEa)U2:I still haven't found what I'm looking for AD. C:I-TV-I-VI JimiHendrix:One rainy wish AEa. C:I-IV-II-IByrds:The bells of Rhymney AEb. G:I-IV-II-I-IV JoeCockerS JenniferWarnes:Up where we belong AEc. C: I-IV-II-IVBe-BopDeluxe:Sleep that burns; Def Leppard:Hysteria; George Harrison:If not for you; RoxyMusic:My little girl AEd. C: I-IV-II'-IVDeaconBlue:This changing light AEe. C:I-IV-II-TV-V Orchestral Manoeurres: Locomotion AEf. C:I-IV-II'-V'-III-VI(IADa)ElvisCostello:Busy bodies AFa. D: I-IV-IIIBonJovi:Lay your hands on me; EricClapton:RitaMae AFb. A: I'-IV'-IIIUriahHeep:Real turned on AFc. C: I-IV-III '-IV-II'-IV-VJohnLennon:No. 9 dream AFd. D: I-IV-III-VII DeepPurple:Speed king AFe. D: I'-IV-III-VII Bangles:FIerotakes a fall AGa. C: I-IV-IV--IStevieWonder: He's MisstraKnow-it-all AGb. D: I-IV-IV--IBarclayJamesHarvest:She said; Level42: I sleep on my heart; Supertramp: If everyone was listening AGc. A: I-IV'-IV-I'Toto:Girlgoodbye AHa. C: I-IV-V(EAIa&FDBa)Abba:Knowing me knowing you; Arrival:Friends; Band:We can talk; Bangles:Going downto Liverpool;James; Beatles:Here comes the sun; Lucy in the sky with diamonds; Be-BopDeluxe:Heavenly homes; JeffBeck:Hi-ho silver lining; BonJovi:Stick to your guns; Boomtown Rats:She's so modern; JudyClayS WilliamBell:Private number;Phil Collins: Like china; ElvisCostello:Little triggers;Def Leppard: Pour some sugar on me; Jim Diamond:I should have known better; Ian Dury: Clevor Trever;EchoS Bunnymen:The cutter; ElectricLightOrchestra: Sweet is the night; Fine Young Cannibals: Don't look back;Fleetwood Mac:Seven wonders; Art Garf7wnkel: All I know; Hollies:CarrieAnn; IcicleWorks:Who do you want for your love; Jethro Tull:Crossfire;Nik Kershaw:Wide boy; Wild horses; Kinks:Autumn almanac; LedZeppelin:The ocean; Madness:Prospects;Meat Loaf:All rewed up & no place to go; SteveMillerband:Swing town; Move:Flowersin the rain;Orchestral Manoeurres:Secret; BrianPoole:Do you love me?; ProcolHarum:Ramble on;

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Without expresYour own choice; Queen:Now I'm here; R.E.O. Speedwagon: sion; RollingStones:Get off of my cloud; Theymightbegiants:Dead; Yourracist 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 TrentD'Arby:If you let me stay; Vapors:Spring collection;SheilaWalsh:Don't hide your heart; WeddingPresent:Getting nowhere fast; Who:Anyway anyhow anywhere; Neil Young:Only love can breakyour heart AHb. l): I-TV-VlDead& Alive:You spin me round AHc. A: I-IV-VPhil Collins:I missed again; KingCrimson:The night watch; Genesis: All in a mouse's night; Level42: Dream crazy;Pet ShopBoys:West End girls AHd. H: I-IV-VBeautifulSouth:Girlfriend;Madness:On the beat Pete AHe. F: I-IV'-V10000volts:Totallyuseless AHf. D: I-IV-V'Phil Collins:I'm not moving; RollingStones:Fool to cry AIa. C: I-IV-V-IAbba:Waterloo;Big Country:Fields of fire; BonJovi:Love for sale; Erasure:Drama;GladysKnight:Takeme in your arms;MeatLoaf:Forcrying out Joan of Arc; PinkFloyd:Free four; Supremes:The loud; OrchestralManoeurres: happening; TransvisionVamp:Born to be sold AIb. A: I-IV-V-ISteveMillerband:Abracadabra Abba:The name of the game; BookerT & MGs:Soul limbo; Eddie AJ. C: I-TV-V-TV Summer& lightning;Peter Cochran:C'mon everybody; ElectricLightOrchestra: If you leave; PinkFloyd:Stay; Manoeuvres: Gabriel:Family snapshot; Orchestral Hang on Sloopy; Police:Bornin the 50s; BrianPoole:Game of love; Sandpipers: Sweets for my sweet; TransvisionVamp:Baby I don't care; Troggs: Searchers: Wild thing; UB40:Red red wine AK. C:I-IV-V-VIBonJovi:Stickto your guns; StringDrivenThing:It's a game; T'Pau: Island AL. G:I-IV-V'-VIIJohnnyWinter:Guess I'll go away We got married AMa. A: I-IV-VI-IPaulMcCartney: AMb. A: I-IV'-VI-IDavidBowie:Andy Warhol;SteveMillerband: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 lDavidBowie:Suffragettecity AO. A: I-IV'-VI-III-VII AP. C: I-IV-VI-IVBig Country:Inwards; Bob Dylan: Precious angel; Madness: E.R.N.I.E. AQa. C: I-IV-VI-VBig Country:Close action; Fine YoungCannibals:She drives me crazy;KylieMinogue:Love at first sight AQb . H: I-IV-VI-VChrisRea:The road to hell (pt.2) Big Country:The great divide; BonJovi:Blood on blood; Phil AQc. G: I-IV-VI-V-VII Collins:Behind the lines; U2:Where the streets have no name AR. A: I'-IV'-VI-VIIChrisRea:Texas BAa. C: IV-I Big Country:100 stars; lDavidBowie:It ain't easy; ArthurConley:Sweet soul music; ElvisCostello:Miracleman; Night rally;DeaconBlue:Circuslights; Real gone kid; Eagles:One of these nights; FleetwoodMac: Songbird; Eddie Floyd:Knock on wood; Jam:Thickas thieves; RoxyMusic:Cry cry cry; Terence Trentd'Arby:If you let me stay; U2: Elvis Presley & America;Promenade;A sort of homecoming BAb. D: TV-ILedZeppelin:For your life BAc. A: IV-IMadness:Embarrassment;PinkFloyd:Childhood's end BobDylan:Do right to me baby BAd. C: IVX-IX

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BBa. C:IV-I-II-IDeaconBlue:Orphans BBb.E: IV-I-II-I(FAO) Slade:Coz I luv you; ThinLizzy:Jailbreak BC. C: IV-I-II-IV-V-I Be-BopDeluxe:Crying to the sky BD. C: IV-I-II-VElectricLightOrchestra: Summer & lightning; PinkFloyd:Time BE. C: IV-I-II'-VBoomtownRats:Me & Howard Hughes BF. A: IV'-I-III-VII-VI Supertramp: Crimeof the century BG. C: IV-I-IV-VDerekS Dominos:Tell the truth BH. C: IV-I-V-IBig Country:Steeltown; Byrds:All I really want to do; Creedence ClearwaterRevival:Down on the corner;Jam:Smithers-Jones;Theymight be giants:We want a rock BI. C: IV-I-VI-IDavidBowie:Starman BJ.C: IV-I-VI-II'-V PeterGabriel:And through the wire BKa.G:IV-I-VII-I(BBNa&HCAa)JohnKongos:Tokoloshe man BKb.G:IV-I-VII--IElvisCostello:Less than zero BL. C: IV-II-IPhil Collins:I cannot believe it's true; Nik Kershaw: Save the whale BM. D: IV-III-IPhil Collins:I don't care any more BN. A: IV-III-IV-I PinkFloyd:Young lust BO. A: IV'-VI--I' WeddingPresent:My favouritedress BP. C: IV-V-II-INeil Young:Tell me why BQ. C:IV-V-IV-IBobDylan:When He returns BR. A: IV-VI-III-I Fleetwood Mac:The chain CAa. C: V-IV-I(HAEa)Big Country:Harvest home; KateBush:The kick inside; Billy Joel:That's not her style CAb. G: V-IV-IGeorgeHarrison:All things must pass; SimpleMinds:Street fighting years CAc. A: V-IV-IPinkFloyd:Money CB. C:V-IV-I-IV-II-I PeterGabriel:Wallflower ClassH: Sharpwisecyclicsequences AAa. A: I-III-VII-IV-I Kinks:Dead End Street AAb. D: I-III-VII-IV FineYoungCannibals: I'm not satisfied;JethroTull:4 W.D.; Meat Loaf:Bat out of hell; SiouxsieS Banshees:Arabiannights ABa. F: I-V-IIDeepPurple:Flight of the rat ABb. C:I-V-IIAbba:Super trouper;Beatles:With a little help frommy friends;Dexy's MidnightRunners:Come on Eileen; Supremes:Where did our love go?; They mightbegiants:Hearing aid ACa. C: I-V-II-IVDef Leppard: Run riot ACb. C: I-V-II'-IVBoomtownRats:I never loved Eva Braun ACc. A: I'-V-II--IVMadness:Our house AD. C: I-V-II-VI-VGaryMoore:Rest in peace AEa. C: I-V-IV-I(FAE&GCAa)Band:Long black veil; DavidBowie:Diamond dogs; CreedenceClearwater Revival:Bad moon rising; Fortunate son; FleetwoodMac: Go your own way; Kinks:Village Green PreservationSociety;Marmalade: Baby make it soon; Who:Substitute AEb. H: I-V-IV'-IEagles:Witchy woman; GentleGiant:Giant for a day AFa. G:I-V-VII-IVJimiHendrix:One rainy wish AFb. A: I-V-VII-IVSupertramp: School AFc. G: I-V'-VII-IVIcicle Works:Walking with a mountain; Lindisfarne: When the

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war is over; PinkFloyd:Comfortablynumb;Fatold sun; Transvision Vamp:Kiss their sons; t12:Red Hill mining town; Unforgettablefire; VanHalen:Secrets; Vapors:TurningJapanese AFd. G:I'-V'-VII-IV-V'-II' RoxyMusic:For your pleasure AFe. A: I'-V'-VII-IV'-VI SimpleMinds:Wonderfulin young life AGa. G:I-V-VII-IV-I EricClapton:Let it rain AGb. D: I-V-VII-IV-I'Wishbone Ash:Warrior BA. A: I-VI-III-VII SheilaWalsh:Hope for the hopeless BB. A: I'-VII-V'-III-VII-IV PinkFloyd:Burningbridges;Mudmen CAa. G: I-VII-IV(BBNa&GBKa&HJB) Bangles:Live; Bar-Kays:Soul finger; Beatles: Hey Jude;Taxman;DavidBowie:Memory of a free festival;EricClapton:Don't know why; Elvis Costello:You belong to me; CreedenceClearwaterRevival: Fortunateson; DeaconBlue:Queen of the new year; DeepPurple:Flight of the rat;Def Leppard: Don't shoot shotgun; Donovan:Hurdy Gurdy Man;Ian Dury: Blockheads;FleetwoodMac:Don't stop; FourTops:If I were a carpenter;Free: All right now; LedZeppelin:Gallows pole; Hots on for nowhere; Out on the tiles; The rain song; MahavishnuOrchestra: Open countryjoy; SteveMillerband: 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; RoxyMusic:Trash;2H.B.; StoneRoses:I am the resurrection;ThinLizzy:Killer on the loose; U2: Trip through your wires; UriahHeep:All my life; Circle of hands; The wizard; SheilaWalsh:We'reall one; W7Io: Can'texplain;Magicbus; JohnnyWinter:Ain't that a kindness CAb. D: I-VII-IVBarclayJamesHarvest:Paper wings; Big Country:The storm; Kgte Busta:Feel it; EricClapton:Catchme if you can CAc. A: I-VII-IVDavidBowie:Ashes to ashes; PhilColllins:Another day in paradise; LIriahHeep:Travellerin time CB. A: I'-VII-IV'-VI-III RoxyMusic:Angel eyes CCa. G:I-VII-IV-VRoxyMusic:If there is something; Theymightbegiants:Twisting CCb. G:I-VII-IV-V'JohnnyWinter:On the limb CCc. D: I-VII-IV-V' Level42: Coup d'etat CDa. D: I-VII-IV-III KateBush:Oh to be in love CDb. A: I-VII-IV-III BronskiBeat:Smalltownboy CDc. D: I'-VII-IV-III ChrisRea:Looking for a rainbow CEa. C: I-VII-IV-II DavidBowie:Look back in anger CEb. E: I-VII'-IV'-IIToyah:Ieya CF. G: I-VII-II-IBand:Chest fever DA. C:II-IV-I-VBand:Wheels on fire EAa. G: III-VII-IV-I Be-BopDeluxe:Fairexchange; LedZeppelin:Over the hills & far away EAb. D: III-VII-IV-I ElvisCostello:Goon squad;PinkFloyd:Childhood's end EAc. A: III-VII-IV-I (EGA)Melanie:Candles in the rain EAd. A: III-VII-IV-I' RollingStones:Jumpin'JackFlash FAa. C: IV-I-VBonJovi:Living in sin; Creedence Clearwater Revival:Up around the bend; DefLeppard: Animal FAb. G:IV-I-VToto:Manuelarun FB. C: IV-I-V-II'RoxyMusic:Still falls the rain GAa. C:V-II-IV-IPeterGabriel:Wallflower;LedZeppelin:Celebrationday GAb. C:V-II'-IVX-I Band:To kingdom come

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(DBI)Family:In my own time HA. A: VI-III-VII-I' Love in a void JimiHendrix:Hey Joe;SiouxsieS Banshees: HB. A: VI-III-VII-IV'-I' HC. C: VI-IV-I-V GaryMoore:Kidnapped JohnnyWinter:Look up IAa. G:VI-VII-IV-I LedZeppelin:Foryour life IAb. D: VI-VII-IV-I JA. A: VII-IV'-I-V'DeepPurple:Fireball JB. G: VII-IV-I(HCAa)All AboutEve:Road to your soul; BonJovi:99 in the shade; & KateBush:The man with the child in his eyes; EricClapton:Blackrose; lDerek Reynardine; Convention: you; Fairport believe in Anyday; BoblDylan:I lDominos: Peter Hammill:Vision; JethroTull: Pig-me & the whore; Billy Joel:I go to extremes; Meters:Ease back; Police:Next to you; SimpleMinds:Belfast child; TalkingHeads:Thankyou for sending me an angel; U2:In God's country;Van Halen:Hang 'em high; Vapors:Trains;JohnnyWinter:Ain't that a kindness Open up R.E O. Speedwagon: JC. G:VII-IV-VII-I ClassI: Flatwisecyclicsequences Motorof love PaulMcCartney: AA. G: I-I"-IV-VII GentleGiant:It's only goodbye AB. A: I-VI-VII-III-VI-II-V BeachBoys:I get around AC. G:I-VI'-II-VII-V' ADa. C: I-VI-II-V(DBAa&GAEf)Abba:Fernando;Winner takes all; BeautifulSouth: How do you do it?; Love is . . .; Fourmost:Hello little girl; GerryS Pacemakers: WhitneyHouston:Saving all my love for you; Madness:The blue-skinnedbeast; KylieMinogue:It's no secret; Nilsson:Without you; ProcolHarum:Your own America choice; SimonS Garfunkel: ADb. C:I-VI'-II-VDavidBowie:Life on Mars;WhitneyHouston:You'restill my man; Baby You want her too; Move:Firebrigade;SimonS Garfunkel: PaulMcCartney: driver ADc. F: I-VI'-II-VBoomtownRats:She's so modern AEa. F: I-VI-II-V-IBeatles:Good day sunshine; MaryWells:My guy Foronce in my life AEb. C:I-VI'-II-V-IEdwinStarr:Stop her on sight; StevieWonder: Love & BAa. G:I-IV-VIIElvisCostello:Waitingfor the end of the world; DefLeppard: affection;Kinks:Lola; PlasticOno Band:Happy Christmaswar is over; Procol Harum:Nothing but the truth; She wandered through the garden fence; SimpleMinds:When spirits rise; UriahHeep:Poet's justice BAb. D: I-IV-VIIThinLizzy:Don't believe a word BAc. A: I-IV-VIIToto:Takin'it back DerekS Dominos:Layla BAd. G:I-IV-VIIX-I I was made to love her BAe. A: I'-IV-VIIStevieWonder: GeorgeHarrison:When you gonna wake up BBa.A: I-IV-VII-I-V Mission:Bridgesburning BBb.G: I-IV-VII-I-V-IV BCa. G:I-IV-VII-VFontellaBass:Rescue me; U2: Pride in the name of love BCb. G:I-IV-VII-V'ElvisCostello:Alison; XTC:That'sreally super, supergirl BCc. D: I-IV-VII-V'ProcolHarum:Conquistador BDa. G: I-IV-VII-IVSolomonBurke:Everybody needs somebody to love; Fleetwood Mac:Gold dust woman; Icicle Works:Don't let it rain on my parade; Queen: Crazylittle thing called love; U2: One tree hill BDb. G: I-IV--VII-IV--VCuriosityKilledtheCat:Down to earth BEa. D: I-IV-VII--IIIBeautifulSouth:Have you ever been away?

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BEb.D: I-IV-VII-III-bII' StevieWonder: Don't you worry 'bout a thing BEc.A: I'-IV-VII-III-V' PeterHammill:Happy BEd. G:I-IV-VII-III-VI KylieMinogue:Turnit into love; ProcolHarum:The devil came from Kansas;SimonS Garfunkel: Mrs Robinson BEe. A: I-IV'-VII-III-VI ElvisCostello:Accidents will happen BEf.A: I'-IV'-VII-III-VI Hue S Cry:Labourof love BEg. E: I-IV'-VII-III-VI--II UriahHeep:The spell BEh. A: I-IV-VII-III-VI-II-V' GloriaGaynor:I will survive BFa. C: I-IV-II-VBeachBoys:Wouldn't it be nice; Def Leppard:Love bites; Eagles: Lyin' eyes; IcicleWorks:Up here in the north of England;SimonS Garfunkel: Only living boy in New York; TransvisionVamp:Landslide of love; Bonnie Tyler:Lost in France;Neil Young:Till the morning comes BFb. C: I-IV-II'-VBeatles:Things we said today; DavidBowie:Changes; Move:Walk upon the water BG. C: I-IV-II-V-III-VI-IV-I ProcolHarum:Homburg CA. F: I--III'-VI'-III'-II-VMotorhead: Tearya 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; BeautifulSouth:Oh Blackpool;CuffLinks:Tracy;GerryS Pacemakers: I like it; BillyJ. 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-VKinks:You really got me; Move:Flowers in the rain DAb. C: I-II-VBeachBoys:Don't worry baby;I can hear music; DavidBowie:Bewlay brothers;ElvisCostello:Senior service; Who:Substitute DAc. G:I-II-VSouxsieS Banshees:Spellbound DBa. F: I-II-V-IBeachBoys:Heroes & villains;Beatles:I want to tell you DBb. C: I-II-V-IAdamS Ants:Ant music; BeachBoys:You'reso good to me; Beatles: Tell me why; DavidBowie:Sound and vision; JanisIan:At seventeen; Plastic OnoBand:Happy Christmaswar is over DBc. A: I-II'-V'-IAbba:Money money money; ProcolHarum:Pandora'sbox DBd. B: I--II-V-I- DavidBowie:Bewlay brothers EA. C: I-IM-II-V EdwinStarr:Stop her on sight FA. C:V-V7-I-II7 KateBush:The morning fog; ProcolHarum:Pilgrim'sprogress FB. C: VI-II-V-IDef 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-IVIcicleWorks:Evangeline;Level42: It's not the same for us GC. C:V-I-IV-VDef Leppard: Gods of war HA. G:IV-VII-IByrds:I'll feel a whole lot better;EricClapton:MainlineFlorida HB. C: IV-V-III-VI-II-V-I PaulMcCartney: Figureof eight; KylieMinogue:I should be so lucky HC. D: IV-V'-IHappyMondays:Bringa friend HD. C: IV-II-V-IKateBush:Wuthering Heights; JudyClay S WilliamBell:Private number;lDefLeppard: Love bites; lDerek S lDominos: Layla;KylieMinogue:Got to be certain;ProcolHarum: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-IBonzoDog Band:Canyons of your mind IA. C:III-VI-IV-V-I Supremes: The happening

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IB. C:III-VI-II-V MarthaReeves:I'm ready for love ICa. C:III-VI-II-V-I Beatles:Can'tbuy me love; BigCountry:Eiledon;PhilCollins:You can't hurry love; Elvis Costello:Living in paradise;KylieMinogue:I miss you; I'll still be loving you ICb. C: III'-VI-II-V-I StevieWonder: Too high ICc. F: III'-VI-II-V-I Jam:David Watts IE. G:III'-VI'-II'-V-VII-I BryanFerry: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-IDavidBowie:Red sails; JohnnyBurnette:You'resixteen JBb. C: II-V-IAbba:Super trouper; AlbertHammond:It never rains in Southern California;Beatles:With a little help from my friends;Jam:BillyHunt; Down in the tube station at midnight; Santana:All the love of the universe JC. C:II'-V-I-IVAll AboutEve:More than the blues JDa. C:II-V-I-VIA-Ha:Takeon me; Beatles:Lady Madonna;Fleetwood Mac:You and I, part II; GeorgeHarrison:My sweet lord; Paul McCartney:This one; Stevie Wonder: A place in the sun JDb. C: II-V-I-VI'BeachBoys:Darlin' JE. G:II-V'-I-VII= ProcolHarum: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)ElvisCostello:Partygirl 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:PrimroseHill Class1:Non-tonicelaboration/tonic preparation AA. A: VII-VI-V'KingCrimson:Courtof the crimson king BA. G:VI-VIIU2:Wire BB. A: VI-VII-V'SiouxsieS Banshees:Mirage BCa. C:VI-V Vapors:Letterfrom Hiro BCb. H: VI-V Vapors:Somehow BDa. C:VI-V-IV-VSupremes: Stop in the name of love BDb. C:VI-V-IV(B) BigCountry:Heart & soul; DavidBowie:Star;lohnnyWinter:Am I here? BDc. A: VIX-Vx-IVx-Vx Madness:Madness is all in the mind BE. C:VI-IVBe-BopDeluxe:Sleep that burns BF. C:VI-IV-VBigCountry:Girlwith 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-VIIDefLeppard: Armageddon it BI. C:VI-III-VII-IV KateBush:James& the cold gun BJ.C:VI-III-VI-VSimonS Garfunkel: The boxer CA. C: V-IV Eric Burdon:It's my life; DeaconBlue:Your constant heart; Aretha Franklin:Respect; Frederick Knight:I've been lonely for so long; LedZeppelin: Royal Orleans CB. C:V-IV-II-VBig Country:Where the rose is sown CCa. C: V-VI-IV-VCockneyRebel:Judy Teen; FleetwoodMac: Everywhere; Gary Moore:All I want CCb. C:V-VI-IV-II'RollingStones:Fool to cry

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CD. C: IV-#IV°-V-IXPaulMcCartney: That day is done CE. C:IV-VI-II'DavidBowie:Moonage daydream DAa. C:IV-VBoomtownRats: Don'tbelievewhatyouread; DavidBowie:Hangonto yourself;EricBurdon:Spill the wine; Byrds:So you want to be a rock'n'rollstar; Elvis Costello:Two little Hitlers; Five Star:Rain or shine; King Crimson:Two hands; LedZeppelin:The ocean; Over the hills and far away DAb. H: IV-VGentleGiant:Proclamation DC. A: IV-III-VII-VI PeterGabriel:Lay your hands on me DDa. C:IV-III-II-V Neil Young:Only love can breakyour heart DDb. E:IV'-III-II-bI'-V StevieWonder: Visions EA. C:III-VI-IV-VBeautifulSouth:Song for whoever EB. A: III-IV'-VI-VKinks:Till the end of the day EC. A: III-VIKinks:Dead End Street ED. F: III'-VI-V-I-IX-II-V ElectricLightOrchestra: Wild west hero FAa. F: II-V David Bowie:Hang on to yourself; CreedenceClearwaterRevival:Hey tonight FAb. C: II-V ElvisCostello:Little triggers;FourTops:Reach out; lohn Lennon:No. 9 dream;SimplyRed:Holding back the years; Supertramp: Bloody well right ClassK:Twelve-bar blues(oftenwitheight-barbridgemovingto VI) One chord per bar:bracketsincorporateintra-barchanges AA. A: I-I-I-I-III--III-II--I-I-V-VII-I-I limi Hendrix:Littlemiss lover ABa. C: I-I-I-I-IV-IV-I-I-V-V-I-I ChuckBerry:Johnny B. Goode; Bonlovi: Bad medicine; EricClapton:I can't hold out; DannyS theluniors:At the hop; Bill Haley: Rock around the clock; BuddyHolly:Oh boy; Louislordan:Choo choo ch'boogie; lerryLeeLewis:Whole lotta shakin' goin' on ABb. A: I-I-I-I-IV-IV-I-I-V-V-I-I BookerT S 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 BeachBoys:Littledeuce coupe ABe. ABa irreg. extensions Elvis Costello:Waiting for the end of the world; limi Hendrix:She's so fine ABf. D: I-IV-I-I-I-IV-I-I-V-V-I-I Z.Z. Top:Backdoorlove affair ACa. G:I-I-I-I-IV-IV-I-I-V'-(VII-IV)-I-I StatusQuo:In my chair ACb. G:I-I-I-I-IV-IV-I-I-V'-(VII-IV-V')-I-I BillySwan:I can help AD. A: I'-I'-I'-I'-IV'-IV'-I'-I'-V'-(VI-IV'-V')-I'-I' EricClapton:Bad boy AEa. C:I-I-I-I-IV-IV-I-I-V-V-V-I ElvisCostello:Blameit 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 BeachBoys:Barbara-Ann;leff Beck:Let me love you; You shook me; CannedHeat:Togetherwe stand; EricClapton:Blow wind blow; EverlyBrothers: Birddog; Madness:Solid gone; Merseybeats: Sorrow;SteveMiller band:Mercuryblues; Nazareth:Bad bad boy; R.E.O. Speedwagon: Movin';Little Richard:Good golly Miss Molly;Tutti frutti;Mungolerry:In the summertime; GeneVincent:Be-bop-a-lula;lackieWilson:Reet petite; Z.Z. Top:Tush; Waitin' for the bus AFb. A: I-I-I-I-IV-IV-I-I-V-IV-I-I BobDylan: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 leans: Hippy hippy shake

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AFd. C: I-I-I-I-IV-IV-I-I-V-V-IV-I lohnnyWinter:Look up AFe. G:I-I-I-I-IV-IV-I-I-V-(IV-VI-V')-I-I EricClapton:Steady rollin' man AFf. A: I-I-I-I-IV-IV-I-I-V-(IV-VII)-I-I LedZeppelin:Tea for one AFg. C: I-IV-(I-IV)-I-IV-IV-(I-IV)-I-V-IV-(I-IV)-(I-V) UriahHeep:Lucy blues AFh. Afa irreg. extensions LedZeppelin:Hats off to (Roy)Harper BA. A: I-I-I-I-IV-IV-I-I-IV-(VI-VII)-I-I Doors:Riderson the storm BB. C: I-I-I-I-IV-IV-I-I-IV-V-V-I Beatles:Can'tbuy me love BC. C: I-I-I-I-IV-IV-I-I-IV-IV-V-V FatsDomino:Ain't that a shame BDa. C:I-I-I-I-IV-IV-I-I-IV-I-V-I lohnnyOtis 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' lohnny 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 LittleRichard: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 EddieCochran: 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)limi 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 ElectricLightOrchestra: 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 BuddyHolly:Peggy Sue NAb. C: I-IV-I-I-IV-IV-I-I-V-IV-I-I BuddyHolly:Peggy Sue NAc. C: I-IV-I-I-IV-IV-I-I-V-IV-(I-IV)-(I-V) DerekS 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 Beck:I ain't superstitious; Motorhead:Limb from limb;Nazareth:Bad bad boy

leff

ClassL:Eight/sixteenbarblues AAa. C: I-I-I-I-V-IV-I-I EricClapton:Bottle of red wine AAb. D: I-I-I-I-V'-IV-I-I Cream:Bornunder a bad sign AB. C: I-I-I-I-IV-I-IV-I EddieCochran: Summertimeblues ACa. C:I-I-I-I-IV-I-V-I Beatles:Balladof John & Yoko ACb. C: I-I-I-I-IV-I-(V-IV)-I ElvisCostello:Mystery dance ACc. D: I-I-I-I-IV-I-(V'-VII)-I BobDylan:Gotta serve somebody ADa. C: I-I-I-I-IV-V-I-I BeachBoys:Do it again ADb. A: I'-I'-I'-I'-IV'-(VI-V')-I-ICreedence Clearwater Revival:Susie Q AE. A: I'-I'-I'-I'-IV'-V'-I'-IIIDesmondDekker:Israelite AF. C: I-I-I-IV-IV-I-V-I NormanGreenbaum: Spiritin the sky AGa. C: I-I-I-V-I-IV-(I-V)-I lohnnyS theHurricanes: 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 StoneRoses: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 DerekS Dominos:It's too late

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Cream:Sitting on top of the world BBb.C: I-I-IV-IV-I-V-I-I lerry LeeLewis:Greatballs of fire BC. C: I-I-IV-IV-V-IV-I-I (GAHa)BeachBoys: Californiagirls BD. C:I-I-IVX-V-I-I-IVx-V Thin Lizzy: Chinatown CA. A: I-I-V-I-IV-I-V-(IV-VI)-I Light Orchestra:Birminghamblues Electric CB. C:I-I-V-V-IV-V-I-I Eric Clapton:Something special DA. C: I-IV-I-IV-(I-VI)-(II-V)-I-I -II' Roxy Music: Grey lagoons DB. C: I-IV-I-IV-I-V-II' Beach Boys: Fun fun fun; lim Reeves: I love you because; DC. C: I-IV-I-V-I-IV-V-I Rolling Stones: Honky Tonk Women; T. Rex: Ride a white swan Eric Clapton:Blues power DD. C: I-IV-IV-I-I-II'-V-I Derek S Dominos: Key to the highway EA. C: I-V-IVX-IVx-I-V-I-V Beatles:Hey Jude;Drifters:Under the boardwalk EB. C: I-V-V-I-IV-I-V-I LeonRedbone:Relax FA. C: I-VII'-I-VI'-II'-V-I-(II-V) Ray Charles:I can't stop loving you; Fats Domino: Blueberry HA. C:IV-I-V-I-IV-I-V-I Hill; Everly Brothers:Birddog; Roxy Music: Would you believe? Buddy Holly: That'llbe the day IA. C: IV-IV-I-I-IV-IV-I-(V-I) Louislordan: Choo choo ch'boogie IB. C:IVX-IVx-I-I-V-V-I-I Meat Loaf:Let me sleep on it IC. G:IV-IV-I-I-VII-IV-I-I BeachBoys: Surfin'USA; ChuckBerry:Sweet little sixteen LAa. C:V-I-V-I-IV-I-V-I Kinks:Dedicated follower of fashion LAb. C:V-I-V-I-IV-(I-VI')-(II-V)-I ChuckBerry:Memphis Tennessee MA. C:V-V-V-V-I-I-V-I Chris Montez: Let's dance RA. C:I-I-I-I-IV-IV-I-I-V-IV-V-IV-I-I-I-I Nazareth:Razamanaz RB. C: I-I-I-I-IV-IV-I-I-V-V-IV-IV-I-I-I-I Eric Clapton:Floatingbridge RC. C: (I-V)-I-IV-I-I-IV-(I-V)-I Class M: Returning modulations

AA. G: IC-VIICBand: We can talk; Beatles: Good day sunshine; Madness: Victoria Gardens;Gary Moore:Teenage idol; Who:I'm free Derek S Dominos: Layla AB. C:IA-VIIA-IIC BAa. C:IC-VICDerekS Dominos: Bell-bottomblues; Who:Picturesof Lily BAb. C: IC-VIA David Bowie: Moonage daydreams;Elvis Costello:The beat; Simple Minds: Sound in 70 cities BB. D: IA-VIADuran Duran: Save a prayer;Nik Kershaw:Roses; Madness: Turning blue BC. A: IC-VICDavid Bowie: Golden years; Gentle Giant: Cogs in cogs; Led Zeppelin: Celebrationday; The Look:The beat; SpandauBallet:True;Supremes:You keep me hanging on; WeddingPresent: Something & nothing CA. C: IC-VC Queen: Killerqueen CB. C:VG-IC Derek S Dominos: Anyday CC. A: IA-VA-IVAGary Moore:Run to your mama DA. F: IC-IVAMadness: The blue-skinnedbeast DBa. C: IC-IVCDrifters:Under the boardwalk;Peter Gabriel:Wallflower;LoveAffair: Everlastinglove; Who:I can see for miles DBb. C: IVC-ICBeatles:I am the walrus DBc. C:IA-IVA Abba:Summer night city; Bon lovi: Wild is the wind DC. A: IA-VIA Big Country:Girlwith grey eyes Madness: One better day DD. A: IA-IVA-VIC A Procol Harum:Nothing but the truth C: IC-VIA-VIIA-VIA DE.

Patternsof harmony

105

DF. A: IA-VIA-VIIA-VA-IA Alice Cooper:Poison EAa. C:IC-IIICFour Tops:Reach out; Pink Floyd: Free four EAb. C:IA-IIIALevel42: Lying still EAc. A: IC-IIICEric Clapton:Easy now; Petula Clark:Don't sleep in the subway;lam: Man in the corner shop; Kinks:Days; Simon S Garfunkel:Mrs Robinson; Who: Pinballwizard EAd. C:IIIC-ICPhil Collins: Behind the lines; Hand in hand EAe. A: IA-IIICBarclay lames Harvest: Summer soldier; FleetwoodMac: You make loving fun; Gentle Giant: Takeme; lam:Butterflycollector;Madness: Not home today; Gary Moore:Rest in peace; Slade:Farfar away EAe. A: IA-IIIABon lovi: Born to be my baby FAa. C: IC-IIADavid Bowie:Ziggy Stardust FAb. F: IC-IICBeachBoys: Don't worry baby;Fine Young Cannibals:Don't look back; Gary Moore: Really gonna rock;Roxy Music: Dance away; limmy Ruffin: What becomes of the brokenhearted?;Supertramp:Asylum; T'Pau: Only the lonely FAc. A: IA-IIAlethro Tull: Something's on the move; SimpleMinds: Theme for great cities FB. C:IA-bIIA-IIA-VIIA Madness:Tiptoes GAa. C:IC-IABeatles:Here there & everywhere GAb. C:IA-ICDerekS Dominos: Why does love got to be so sad HA. A: IIC-IIIC-IC Beatles:Lucy in the sky with diamonds Class N: Progressivemodulations

AA. C: IC-IICAfter the fire: Laser love; Bon lovi: I'll be there for you; David Bowie: Soul love; lohnny Burnette:Dreamin';Phil Collins: It don't matterto me; Motorhead: Damage case; Police: So lonely; Tina Turner: Be tender with me baby; Vapors:Somehow ABa. A: IA-IIAStevie Wonder:Golden lady ABb. E: IC-IICBeachBoys: I get around;Dave ClarkFive: Glad all over; EmersonLake S Powell: Learning how to fly; Fourmost:Hello little girl; FreddieS Dreamers: I'm telling you; Isley Brothers:I guess I'll always love you; lam: English rose; Nik Kershaw:Wild horses; LoveAffair: Wake me I am dreaming;Supremes:The happening; Stevie Wonder:For once in my life ABc. E: ID-IIDNik Kershaw:The riddle AC. A: IC-IIC-IIIC-IVC Who:My generation BA. C: IC-IIICDiana Ross: Ain't no mountain high enough BB. A: IC-IIICDoors: Hello I love you BC. D: IA-IIIA-VA-VIA Siouxsie S Banshees:Playgroundtwist CA. C: IC-IVCEric Clapton:Give me strength;Eagles:Already gone CB. C:IA-IVAGentle Giant: It's only goodbye DA. C:IE-VE Stevie Wonder:Jesus children of America EA. A: IC-VICBeachBoys: Wouldn't it be nice EB. F: IC-VIC-IVC lethro Tull: Son EC. A: IC-VIC-IVC-VCGenesis: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: Bohemianrhapsody

106

AllanMoore

ClassO: Wandering/chromatic modality Beatles: Penny Lane; Be-BopDeluxe:Blazing apostles; David Bowie:Life on Mars; NenehCherry:Manchild;Doors:Touch me; EmersonLakeS Powell:The miracle;Step aside; Genesis:All in a mouse's night; GentleGiant:So sincere; GeorgeHarrison: Beware of darkness; Icicle Works:Who do you want for your love; lam: 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; OrchestralManoeurres:If you leave; Procol Harum:Salty Dog; Queen: Bicycle race; RoxyMusic:Manifesto; Supertramp: Dreamer;XTC:Another satellite; Season cycle