Patterns in 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: 22/07/2013 04:38 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

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PopularMusic (1992) Volume 11/1

Patternsof harmony ALLAN MOORE

Introduction There are two seeminglyself-evidenttruthsconcerningthe harmonicpracticesof popular music. The first,which finds clear expression in Adorno, is that such music's harmoniclanguage is both detrimentally limitedand static.The harmonic is considered to of a consist few formulae (Adorno deals with them in repertoire termsof standardisation:see Middleton 1990, p. 45ff.),by means of which songwritersstringtogethertheirsongs, uninfluencedby the song's content. For the expert listener,therefore,popular music should be uninteresting:it is only its psycho-economicdimensionwhich makes it worthyof study. This tends also to be the conclusion of established musicology,except that there it is feltsuch 'extramusical' speculation is best left to the sociologist. The second truthis that the differencesbetween Afro-American-derived stylesare material,since our identities are so stronglyincorporatedin the styleswe use: We markout thedifferences betweengenresand stylespartlyby reference to contrasts in thewaythisstockoftechniquesand soundsis used. (Middleton1990,p. 88) Since harmonyis not onlyat theforefront oftraditionalanalyticalinvestigation,but also formsan importantinitialfocusforsongwriters,itmay well be assumed thatit is thereforean importantfactorin enabling us to distinguish,forexample, 'rock' from'pop' from'soul'. However, the materialrealitybehind these differencesof stylehas rarelybeen subject to systematicinvestigation. I have long feltthatthese twinbeliefsare the resultof speculationratherthan analyticalinsight,and the data presentedhere in the appendix is intended to shed some light on the harmonic nature of such music. The data collection exercise began as a pedagogical tool, aimed at enabling ab initiostudents to acquire the beginningsof a sense of harmony.It is presentedwith this aim stillverymuch in mind, and it may thereforebe of use to some readers of this journal. Needless to say, the task is barelyunder way. Aside fromenablingme to respond to these selfevidenttruths,the practiceof categorisingthe data has raised a numberof important questions, considerationof which mightbe bypassed by those not particularly musicallyliterate. I have subjected a wide varietyof rock/pop/soul to harmonicanalysis so far. Some songs may be ratherunfamiliarto some readers, and the range perhaps unbalanced. The music used here has been almost randomlychosen, but with a primaryconcern to evade the implicitconstructionof a central canon. I have decided to make this work public at this time both for its pedagogic value and because the range of data seems to be large enough to begin to support conclusions, althoughthe exerciseclearlyrequiresextendingbeforesuch conclusionscan be considered properlydefinitive. 73


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Reading the data The appendix lists a large number of harmonicpatterns,categorisedin order to enable similaritiesto be compared. It is for this reason that I have adopted a functionalharmony(roman numeral) system of presentationratherthan a simple chord-namesystem,although by this I do not intend to suggest that the rules of classical functionalharmonyoperate: indeed, it will become clear thattheycannot. The patterns should be largely self-explanatory:they relate only to portions of songs, sometimes verses, sometimes refrains,occasionally link and bridge passof each individualsong. (Many songs thereages, depending on the characteristics fore appear in two or even three places.) Although regularityof harmonic movementwithina patternmay indeed act as a norm,thisshould not be assumed a priori. The patternsare grouped in such a way as to enable ready identification. Class A covers patternswithouta change of harmony:thus groups beginningAare essentiallymodal melodies over a (tonic) drone, whetheroccurringduringan instrumentalsolo, a verse or a refrain;groups beginningB- identifythe same over clear descending bass lines; groups beginningC- cover alternationsbetween two formsof tonic. Classes B to G are essentiallyconcerned with the distance of the initial move away fromthe pattern'stonic.In addition, classes B and C include stepwise moves froma pattern'sinitialharmonywhere thisis not the tonic,classes D and E include patternswhere mediant-tonic(III-I) or submediant-tonic(VI-I) combinationspredominate,and classes F and G include unusual patternswhere dominant-tonic(V-I) or subdominant-tonic(IV-I) combinationslikewise predominate. Within each of these classes, patternsare ordered successively on the first harmony,then the second, and then subsequent harmonies within the pattern. Classes B and D are ordered 'downward' (fromI to VII to VI etc.) while classes C and E are ordered 'upward'. Classes H and I concern the identityof the whole progression,and here I have included those common departuresfroma precise ordering.Again, class H is ordered 'upward' and class I 'downward'. fifth-cyclic Although some of these patternsmay not initiallyappear cyclic,closer inspection will reveal thateach incorporatesat least threestages of a cyclicprogression,with occasional non-cyclicchords admittedwhere theyare subservientto the pattern's cyclicidentity.Classes M and N relateto changes of mode: class M covers cyclical changes (those occurringmore than once), class N linearones. In both,patternsare ordered in an 'upward' direction. Withineach class, patternshave been identifiedat the lefthand side of each alphabetic code. This is to enable crossentryby means of a two- or three-letter I in a moment. The general rationalebehind the return which shall to referencing, code can be explored with referenceto class F (dominant sequences). Groups beginning A- all have patterns which start I-V-. Groups beginning B- all have patterns startingII-, those beginning D- all start IV-, etc. Within this, groups beginningAA- consist solely of I-V, those beginningAB- have patternsstartingIV-I-, those beginning ABC- have patternsstartingI-V-II-,those beginningABDstartI-V-III-,and so on, in a fairlylogical manner. Where it is necessaryto further differentiate patterns,and especially where the same patternappears within a mode (see e.g. all groups AA- here), I have appended lower case letters. different Therefore,each pattern is uniquely identified.For example, the common Aeolian patternI-VI-VII can be referredto as CDAa. The initial'C' refersto the


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class 'stepwise ascending harmony',while 'DAa' referencesthe patternwithinthat class. The code CIAb which appears in bracketsis a cross-reference to the Aeolian it which have not been resembles. Patterns VI-VII-I, pattern strongly exhaustively I have concentratedon those I have foundofmostpracticalvalue. cross-referenced: Classes have been derived pragmaticallyin orderto include all the patternsI have identifiedso far- of course, each class will expand as the amount of data grows. Classes M and N, which concernmodulations,requirea littlemore explanation,in thatroman numeralsrefernot to harmoniesfounded on a particularscaledegree, but to an entiremode founded on that scale-degree. Thus, group MAA indicatesa modulationdownwards of one tone (Mixolydiandegree I to degree VII) between two Ionian modes. Group MDD is more complex:it indicatesa downward modulation of a major third(Aeolian degree I to degree VI) between two Aeolian modes, the lattermode then becoming Ionian. These classes do not attemptto specifychord sequences. For present purposes, inversions have been omitted. (So, forinstance, the notable patternI root- I firstinversion- IV root- V rootappears simplyas I-IV-V.) This is forthreereasons. Firstly,to include inversionshere would make the data too complex to handle. Secondly, there are few cases where the texturalbass is neithera harmonicpitch,nor a passing-note,both ofwhich are necessarilyignored fromthe point of view of classifyingthe basic pattern.Thirdly,one of the prime functionsof inversionsis to introducevariety:two of Paul McCartney'sbass lines fromSgt. Pepper... will illustrate.On 'A LittleHelp FromMy Friends', he attacks the verse's F#minor(thirdchord in each halfof the verse) in a varietyof different ways, includingeffectively changinginversions,withoutdisturbingthe harmony's identity.On 'Fixing a Hole', he alternatestonic and dominantpitches beneath a sequence essentiallyalternatingtonicand subdominantharmonies,but the repetitivenatureofhis line dislocatesit fromthe harpsichord'sharmonicsequence, again withoutdisturbingthe pattern'sidentityat the centreofthe song. A similarcase is that of Abba's 'Name of the Game', classifiedin group GAJ (Ionian I-IV-V-IV), where the bass part suggests thatthe last chord be read as V11.In these and other similarlyambiguous cases, the harmoniclayerin the centreof the texturehas been deemed to have greaterinfluenceover the identification of the harmonythan the, timbrallydistinct,bass. In this way, ignoringinversionscan highlightthe role of the bass, and can enable identical harmonic patternsto be found underpinning markedlydifferentsongs. By no means can inversionsbe considered irrelevant. Note mustbe made ofthe 'mode' systemadopted forpresentation.According to this system,instead of major and minor scales, each of seven modes disposes fivetones and two semitones in a cyclicallychangingpattern,as follows: Lydian TTTSTTS Ionian (equivalent to 'major') TTSTTTS MixolydianTTSTTST Dorian TSTTTST Aeolian ('natural minor') TSTTSTT PhrygianSTTTSTT Locrian STTSTTT Other writershave suggested thatpopular 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 thatI have added, forpragmaticreasons, a 'chromatic'mode (purely for class A) and a 'harmonic minor', i.e. Aeolian with semitonallysharpened seventh degree. In the appendix, the modes are representedby 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 thatsongwriters use such a system,althoughmany rockguitarists,at least, are accustomed to think in this way, as a perusal of any guitarists'magazine will substantiate.Its most obvious analyticalbenefitis one of clarity:there is no confusionregardingsuch thingsas whetherthe chord on the (common) flatsixthdegree should be assumed major or minor. In a conventional C major, both readings are defensible. The system I have adopted finds harmonies rigidlywithin the modes named: signs denotingchromaticmodal changes are applied specificallyand are definedbelow. Note thatI have tended to assume all harmoniesto be triadic,unless everyrepetition of the patternincludes an added note. The benefitsof claritycan particularly be observed with those patternsconventionallyconsidered eithermajor or minor, but with flattenedseventh chord degree - they appear here as straightforwardly Mixolydian and Aeolian. Moreover, the identificationof Phrygian and Lydian modes prevents the apparent obscurityassociated with bII and #IV. There is nothinguntoward in these functions. The signs I have adopted for tetrachordsderive fromjazz theory(see e.g. Mehegan 1959). Reading froma root C: augmented seventh (CEGOB) is represented by +; major seventh (CEGB) by M;minorseventhlarge (CEbGB) by'; dominant seventh (CEGBb) by x; minor seventh (CEbGBb) by m; half-diminishedseventh (CEbGbBb) by 0; diminishedseventh(CEbF#A)by o. Chords superscriptedby 4,6 or modal additions of these scale-degreesto triads;superscriptofT refersto 7 are strict an added sharpened fourth.I have also used superscriptsto modifytriadquality fromthatexpectedwithinthe mode, as follows:majoris representedby '; minorby -; augmented by "; diminishedby =. In relationto jazz theory,it should be noted thatcommon jazz substitutions(such as bII forV) have not been found. Substitutions are found, however, the commonestbeing fortriads whose root is a modal thirddistant(i.e. III forV, or IV forII). Of course, substitutionsas such can onlybe recognised where the basic patternundergoes repetition. Any systemof classificationhas deficiencies,forraw data is never as neat as theory must consider it in order to perceive correspondencies within it. Some places within patternswhich are similarto the ear may appear in vastlydifferent the appendix. To overcome this in some small way, some patterns are crossreferencedto other, very similar, patterns, the group number for these latter appearing in bracketsafterthe former.

Classification This work provides some basic grounds forthe considerationof popular harmonic practice prior to the identificationof stylisticdifferencealong the rock/pop/soul continuum.The veryjob of offeringa means of classificationforthese sequences is long overdue. Hitherto, all that has been available have been the occasional unsystematiclists offeredin relationto other arguments- see forexample Gary Burns' discussion of harmonicpatternsactingas hooks (Burns 1987). The method I have adopted here seems most economical,but it also raises certainissues, which are not subject to objective determination:I offerthis materialin the lightof the


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growingacceptance of Nicholas Cook's suggestionthatanalyticaljudgements are of necessityinterpretations, ratherthan assertionsof fact(Cook 1989). In order to register,and almost by definition,a patternhas to be repeated. music uses harmoniesto form Note, therefore,thatby no means all rock/pop/soul repeated patterns:I shall deal elsewhere with those that do not. In many cases, I think immediate repetitionis necessary, although some widely-used patterns, particularlythose associated with cyclicprogressions,seem sufficiently strongto be noted even iftheyare not repeated withina single verse (refrain,bridge). Even then,thislistdoes not pretendto be exhaustivewithreferenceto the songs chosen, but depends somewhat on the subjective response of an experiencedand knowledgeable listener (myself). If criticismis to be levelled here, it must be on the grounds that the listingmay be considered incomplete. Sheet music treatsall chords as functionallyequivalent, by specifyingtheir names ratherthan theirrelationships.And yet,as ethnomusicologiststellus, there seems to be no musical systemin which hierarchiesof importancedo not operate: even Arnold Schoenberg's infamoustwelve-tonemethod admits of pitchhierarchies in practice(see Moore 1990, chap. 3). We need to rememberthat: Ifthereareimportant systemsin theworldthatarecomplexwithoutbeinghierarchic, they extentescape our observation and understanding. mayto a considerable (Simon1962,p.

477)

Therefore,sheet music nomenclatureshould not deafen us to the factthat hierarchicalrelationshipsexist,and these clearlymust be predicatedon the identificationofa tonic.In classical tonal theory,pitch-collection ofthe (i.e. the identification major/minorscale in operation at any particularpoint) is the most commonly invoked criterion.But withina modal system,because the choice of tonicdegree is such evidence is valueless. On what grounds can it thenbe decided that arbitrary, a particularharmonywithina patternis actingas a local tonic?(Throughout,I have identifiedthe tonicof a pattern,not necessarilythatof the song,since many songs modulate between modes.) The criteriathatseem to operate are essentiallythose of metric,rhythmicand accentual modes of stressas developed by JonathanKramer (1988). Simply put, a tonic is likely to persist longer than temporallyadjacent chords, is likelyto begin or end a pattern(particularlycoincidingwith structural divisionsin the lyrics),and is likelyto receivean attackmore emphasised (whether by simple accent, or by change of timbreor density) than that of its temporal neighbours.A difficult applicationof this technique is well exemplifiedby Simple Minds' 'Soul Crying Out' (from StreetFightingYears). Two alternativereadings seem possible, eitheran Ionian IV-VI-V (which initiallyappears as V-IV-VI), or a Mixolydian VII-II-I. The firstreading is of a strongpreparationfor a tonic, and would presumablyfindsupport 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 thereforenot used as a point of arrival. Therefore,the second reading seems preferable. A second problemis caused by the frequentuse of the double appoggiatura and neighbour-notes,and can best be explored by way of examples. At the simplest level, Abba's 'Mama Mia' will stand forcountlessothercases (see Example 1). The refrainuses an Ionian I-IV pattern.This is repeated twiceforthe firsthalfofthe refrain,each chord lasting a nominal two bars. In the firsttwo 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 pitchthroughthebackingvocal, thischordthenacting as a double appoggiatura to the thirdbeat. The problemhere is one of degree of importance.It seems extravagantto raise the statusof a single-beatdouble appoggiaturato thatof a chord: again, itis important to insist on the operation of levels of hierarchicstructure.More usefully,Abba's 'Mama Mia' can be compared to FrederickKnight's 'I've been Lonely forso Long' (Example 2), which uses the same patternand equivalent durations,but whose harmoniceffectis verydifferent, partlybecause of the absence of an appoggiatura here. My suggestionis thateven this pair of examples allows us to argue strongly formulae.That is the least againstthe notionthatthese harmonicpatternsare merely them. Denial of this would of point ultimatelyentailacceptance interestingaspect of the absurd notion thatall common-practicetonal works were merelyformulaic, because theirbackgroundsare formedby SchenkerianUrs~itze. At the other extremeis the Plastic Ono Band's 'Happy Christmas War is Over'. This makes use of the cyclicIonian I-II-V-Iprogression,which it repeats a furthertwo times, at levels represented by the cyclic Mixolydian I-IV-VII progression. This seems such a strikingexample, that I have included it in the appendix under both categories.Here, it is clearlynot extravagantto considerthe formersequence to consistof chords. This is, however, the onlyexample I have yet encounteredof patternsembedded to quite such a high degree, and it can serve to limitthe level at which this question needs raising.

Voice C

I

here I go a-gain_) t(does it showa-gain_)

Ma-mami-a Backing vocal

_J

r

I

( how My my ( just

can I re-sist ya) howmuchI miss'dya

)v

Piano

Tj (absenttill3rdrefrain)

Bass

(variesslightly)

RFF

(Xylophoneomitted)

Example1 Voice

I've been

lo - nely

BassckingP (function

,

scn

Don'tseemlike hap-pi- ness

for so long

i

k

oitd

secondguitarandkitomitted) inflections, (Minuteintonational

Example2


willcome a - long

Patternsofharmony

79

A third problem arises from the assumption that the functional unit throughoutis the 'triad'. There are necessary limits to this assumption, which again can be best illustratedthroughexamples. Cream's 'Sunshine of Your Love' representsthe archetypalrock riff.It is used, however, to clearlyoutline a simple Dorian I-IV-I,formingthe firsteightbars of a twelve-barblues pattern.The chords here are implicit,but nonetheless present. Thin Lizzy's 'Killer on the Loose' presentsmore of a problem,since some degree of triadicinferenceis necessary.As Example 3 shows, both guitarand bass outlinea MixolydianI-VII-VI,but the only confirmationis provided by an upper guitar pitch which appears considerably softer(and weaker). It seems to me thata triadicinferenceis justifiedhere,but only just. Guitar

Guitar

Bass

Guitar

Example3 Bass

W

Example4 Talking Heads' 'There must be a Place' (from Speakingin Tongues)presents a different sortof problem,as outlinedin Example 4. Heard alone, thebass would be to be construed as an Aeolian VII-I-VI-I.Neither guitarpart supports this, likely and I have categorisedit accordingto the middle guitar,which may be considered normativein register(hence, Ionian I-VI-IV-VI). The bass does not conflictwith this,although the patternnow begins with a weak-sounding (second inversion)I. And yet,at the end of the track,the middle guitarbegins to read thisI as a double appoggiatura, supportingthe Aeolian VII-I-VI-I. Such ambiguityis only possible withina repetitiveframework,and serves to strengthenthe conclusion thatsuch musics' harmonic frameworksare used in anythingbut a formulaicmanner, so making them of pure musical interest, before consideration of any other dimension.

Conclusions Withinany seven-notemode, thereare onlyfourways to continueharmonically:to remainin place, to move by step, to move by the intervalof a third,or by thatof a fourth.Remainingin place forany lengthleads to drone-based music, a common background in improvisedrock, folkrock and acid soul. As class A shows, such lack of movement occurs not only beneath solos, but also throughoutverses on many occasions, where such verses have a tendencytoward pentatonicmelodies. Four-stagestepwise patternsare not uncommon (all groups BBE- are variantsof the 'flamenco' changes), but longer patternstend to be more rare. Aside from stepwise alterations(i.e. I-II or I-VII), stepwise moves tend then to continuewith other intervals. Patternsextendinga 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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which alternatebetween two chordswhich cannotbe foundwithinthe same mode (see groups DABd-DABg) tend to be particularlystriking.Of all patterntypes, those beginningwithfourthsare most numerous. Here, alternationsabound, as do sequences beginningin this way and continuingwith other intervals.However, patternscontinuingfurtherin cyclicfashion(i.e. around the cycle of fifths)are so numerous that I have classifiedthem separately. Throughoutall these sequences, the differencebetween sharp-wise(up) and flat-wise(down) directionswould seem to be fundamental.Middleton (1990, p. 200) notes that it can be argued that flat-wisemoves (e.g. I-IV) traverseless 'distance' than theirsharp-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 fromV, which perhaps gives thispitcha statusit failsto acquire in practice.Nonetheless, it is surely true both that flat-wisemoves in general (whatever the mode) carry connotationsof less tension than equivalent sharp-wise moves, and that modes lackinga sharpened seventh degree can carrysimilarconnotations. One importantissue which thisstudymay ultimatelyfurtheris the statusofa generative theory of rock/pop/soulharmony. Such theories have already been offeredforboth jazz (Steedman 1984; Perlmanand Greenblatt1981) and common1983). Middletonhas recently practicetonality(Keiler 1981;Lerdahl and Jackendoff rules (Steedpursued this matter,directlyapplying Steedman's transformational man 1984), and suggestingthat all such transformational grammarsmay depend differentiation' on the deepest principle,'that of tonic/not-tonic (Middleton 1990, p. 198). That may be so, and it would be valuable to tryto apply it to the data gatheredhere. None the less, I feel thatforrock at least, the rules of substitution would necessarilydiffer.It seems likelythat rock sequences could be generated fromfifth-cycles by (recursive)substitutionof modal mediant-relatedchords and consecutive elisions of cyclicsteps. Three simple examples can show this derivation. The 'Stand by me' changes (sub-groupDBA) generatesI-VI-IV-VfromI-I-IVV throughsubstitutionofVI forI. Sub-groupCBG generatesI-II-IV-IfromI-VII-IVI throughsubstitutionof II forVII. Less simply,sub-groupDBI generatesI-VI-IIIVII fromI-I-V-VII-IVthroughthe substitutionof VI forI and the elision of VII-IV-I to VII-I. This can also be pursued with relation to a more complex example: those patternsfound in Def Leppard's 'Love Bites' (fromHysteria).Three patternsare forthe verse, and Ionian I-IV-II-Vand Aeolian I-VIemployed: Ionian VI-II-V11-I9 IV7-VIIforthe refrain.These patternsundergo relativetransposition,to yield the (repeated) -C-Ab-F-Bb-(repeated) -d-gsequence: d-g-C-F-(repeated) -Eb-Ab-F-Bbetc. (where lower case representsminortriad).The firstpatternis simplycyclic,the second is cyclicstartingfromits midpoint,such thatits naturebecomes clearas itis ofthe cyclicV-V-I-IV.The patternsare repeated,while the thirdis a transformation themto a singleframeofreference(letting joined by elisions, such thattransferring I = F) yields: VI-II-V-I-VII-III-I-IV-V-III-I-IV, derived froma cycle of fifths,i.e.:

VI-II-V-I(-IV)-VII-III-I-IV(-II)-VI-IV.

It may be surmised that such elisions may be most common where separate patternsare conjoined. Of course, much furtherwork remainsto be done in thisarea, base may be more although it would seem that the assumption of a fifth-cyclic binarychoice, and also more responsive to elegant than the simple tonic/not-tonic


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hierarchicalinterpretation.The data published in the appendix should enable any such generativetheoryto be developed froma solid base. Any theorywhich took generativetonalityas a model would seem immediatelydoomed to failuresince music is formallystrophic,and hence cyclic(we must returnto the rock/pop/soul same chord with which we begin each verse) whereas classical tonalityby its nature supports linearity.Moreover, to follow Schenker (1979), classical tonality tends towards polyphony,whereas rock/pop/soul tends to conceive its harmonies as indivisibleunits rarelysubject to voice-leadingprinciples. And yet, the factthat such a study as this has not appeared sooner might suggest thatperception,and even conception,frequentlygoes no furtherthan the stringingtogether of a series of discrete harmonies, particularlyoft-used successions ofwhich act as Adorno's formulae(Adorno 1941). Many songwritersseem to accept this formulaicmodel of harmonicpatterns.For instance,Matt Aitken,of the team Stock, Aitkenand Waterman,said in a radio interview: Ifwe'restuckforan idea we'llveryoftentosssomechordsequencesroundand saymaybe, whataboutthatchordsequenceon a ... BillyJoelnumber... someold chordsequence, some old chestnut. .. and use that,and developa song fromthat,becauseitsverynice sometimes to geta firmbase to startfrom... Paul McCartneyechoed this: Johnand I ... werequitehappytonickthingsoffpeople,because... youstartoffwiththe nickedpieceand itgetsintothesong. .. and whenyou'veputitall together ... ofcourseit does makesomething original. Simon Bates introducedthe programmefromwhich these quotes were taken by tellinghis audience that: It is notsurprising thatsomesongssoundfamiliar, as thereare onlytwelvemusicalnotes withwhichto writesongs... That'sit,thesumtotalofthematerial has to anysong-writer 1989) playwith.(BBC Radio1: 'Wherethere'sa hit,there'sa writ',21 February Aside fromthe factthatthisgives pitchpriorityas the primarydomain, an assumption which is probablymisplaced with all primarilystudio genres,the errorof this belieflies in the concentrationon pitchentitiesratherthan relationships.The initial resultsfrommy surveysuggest two seeminglyparadoxical,but vital conclusions. Contraryto received opinion, there is a great varietyof harmonicpatternsused continuum(with a range at least as wide as thatfound in along the rock/pop/soul the foregroundsof common-practicetonality,although theretheyare not subject to the same tendency to continual repetition). This is not a music of limited resources, where everythingpotentiallysounds like everythingelse. And yet, thereseems to be no unambiguous harmonicdifferentiation between these styles, and so thereare clear grounds forarguingthatthereis a singleharmonic languagefor rock/pop/soulwhich, in turn, may serve to differentiatethis music fromjazzderivedpopular musics. This is not to deny stylisticdifferentiation, merelyto argue thatit is chieflyplayed out in otherdomains, particularlythose of rhythm,texture and productiontechniques. Indeed, Bruno Nettlsuggests thatthe widespread use of what he considers a simplifiedformof Westernharmonycontributesgreatlyto the fearsofthose who decrythe homogenisationof popular musics,but he goes on to argue thatotherelementscombine in the interculturalmix to maintainseparate stylisticidentities.(Nettl 1985, p. 85)


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References and Social Sciences,9 Adorno, Theodor W. 1941. 'On popular music', Studiesin Philosophy Bums, Gary. 1987. 'A typologyof "hooks" in popular records', PopularMusic, 6/1 ofMusic Cook, Nicholas. 1989. 'Music theoryand "good comparison": a Viennese perspective',Journal Theory,33/1 ed. Wendy Steiner, Keiler,Alan. 1981. 'Two views ofmusicalsemiotics'in TheSigninMusicandLiterature, 1981 (Texas) Kramer,Jonathan.1988. The TimeofMusic (Collier-Macmillan) Lerdahl, Fred & Jackendoff, TheoryofTonalMusic (Massachusetts) 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. The Western Impacton WorldMusic (Schirmer) Perlman,Alan & Greenblatt,Daniel. 1981. 'Miles Davis meets Noam Chomsky: some observationson ed. Wendy Steiner, jazz improvisationand language structure'in The Sign in Music and Literature, 1981 (Texas) Schenker,Heinrich. 1979. Der freieSatz (trans. and ed. ErnstOster), (Massachusetts) Society, Simon, Herbert. 1962. 'The architectureof complexity',Proceedings oftheAmericanPhilosophical 106 2/1 Steedman, Mark. 1984. 'A generativegrammarforjazz chord sequences', Music Psychology,

Appendix

Generalkey

Modes: F: Lydian; C: Ionian; G: Mixolydian;D: Dorian; A: Aeolian; E: Phrygian;B: Locrian; H: Harmonic minor;X: Chromatic Modificationsof triadquality:Major'; Minor-; Augmented";Diminished= Intrinsicnon-triads: Strictmodal additions/suspensions:4; 6; 7 Chromaticsuspensions: W4T Chromaticadded seventhsas per jazz theoryi.e. Aug+; MajM;Min large'; Domx; Minm;Half dim0;Dimo Note thatIIIN; VNII; VII/II;II/IV;and IVNI are frequentlyinterchangeablewithin repetitionsofthe same pattern.Occasionally,VI/I,I/IIIand IIN are foundtoo. Jazz substitutions(e.g. bII forV) are exceedinglyrare. to a closely related Lettersin bracketsaftera sequence indicates a cross-reference pattern. The alphabeticcode (extremeleft-handside) is explained in the text. Class A: Staticharmony AAa. F: Solo Led Zeppelin:Dancing days; MahavishnuOrchestra: SisterAndrea AAb. G: Solo Derek& Dominos:Tell the truth;Move: Omnibus; PinkFloyd:Obscured Winter:Funkymusic by clouds; Johnny AAc. A: Solo Doors: Riders on the storm;Echo& Bunnymen: Higher hell; Fleetwood Mac: Gold dust woman; JimiHendrix:Spanish castlemagic;Voodoo chile;King Crimson:Requiem; Plastic Ono Band: Cold Turkey; Roxy Music: Stronger throughthe years; Santana:La fuentedel ritmo;UriahHeep:Gypsy ABa. C: Verse Elvis Costello:Big boys; Living in paradise; PeterGabriel:Rhythmof the heat; TalkingHeads: Moon rocks;Swamp


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ABb. G: Verse CreedenceClearwaterRevival:Commotion; Def Leppard:Pour some Heads will roll;Led sugar on me; Doors:Roadhouse blues; Echo& Bunnymen: Wine Celebration Nazareth: white U2: Zeppelin: bicycle; day; My ABc. D: Verse Beatles:Love you too; Big Country:The seer; EricClapton:Get ready; CreedenceClearwaterRevival:Run throughthe jungle; MarvinGaye:Righton; IcicleWorks:Everybodyloves to play the fool;Level42: Coup d'etat; SteveMiller band:Out of the night;PinkFloyd:Money; SimpleMinds: Carefulin career ABd. A: Verse Doors: L. A. woman; Not to touch the earth; Echo & Bunnymen: Ripeness; FleetwoodMac: Green Manalishi; Oh well; JuicyLucy:Who do you love; KingCrimson:21st centuryschizoid man; Led Zeppelin:No quarter;Steve Millerband:Fly like an eagle; RoxyMusic: The bogus man; Sam & Dave: Soul man; SimpleMinds: League of nations; RufusThomas: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/wildgravity BA. C: 3 steps desc.(DABa) Kinks:Well-respectedman; Santana:All the love of the universe BB. C: 4 steps desc.(FAJa)Beatles:For no one; Kinks:Sunny afternoon;MeatLoaf:Bat out of hell; MotttheHoople:All the young dudes; Who:Picturesof Lily BC. G: 4 steps desc. Sparks:This town ain't big enough BD. C: 5 steps desc. Abba: One of us; Band: The weight; Beatles:Hello goodbye; MoodyBlues:Go now; TearsforFears:Seeds of love BE. C: 6 steps desc. JohnLennon:Mind games BF. C: 7 steps desc. ElvisCostello:Oliver's army;ProcolHarum:Whitershade ofpale BG. X: 5 steps desc. Led Zeppelin:Stairwayto heaven BH. X: 6 steps desc. PinkFloyd:Wots ... uh the deal CA. D: I7-I6 Level42: World machine Class B: Stepwisedescending harmony AA. C: I-Ix-IV-IV--I-II'-IV-V Foundations: Baby now thatI've foundyou AB. A: I-Im-VI-VFourTops:Standingin the shadows of love AC. C: I-Ix-VI-IV-II4-VTopoD. Bil: Witchitai to AD. C: I-Ix-VI'-IISupremes:Baby love AE. A: I'-Ix-?VI--VI-VII-III-V'-IAfterthefire:Laser love BAa. G: I-VII Bangles:Tell me; David Bowie:Fashion; Golden years; Scarymonsters; 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& Pacemakers: Tull: Old Ferrycross the Mersey;Jam:All around the world; Jethro Led Achilles last Madness: stand; ghosts; Zeppelin: Keep moving; GaryMoore: Law of the jungle; Shapes of things;R.E.O. Speedwagon:Movin'; Siouxsie& Banshees:Hong Kong garden; StoneRoses:She bangs the drums; Supertramp: Dreamer; T'Pau: Taking time out; TalkingHeads: Burning down the house; Making flippyfloppy; UriahHeep: Dreammare; Van Halen: Dancing in the street;Where have all the good times gone?; Who:My generation;Wishbone Ash: Blowin' free;Time was; StevieWonder:Uptight BAb. A: I-VII (CJAb)BarclayJamesHarvest:Medicine man; EricBurdon:When I was young; Deacon Blue: One hundred things; Echo & Bunnymen: Higher hell; In bluer skies; FleetwoodMac: Isn't it midnight;JethroTull: Flying dutchman;


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Kinks:Till the end of the day; Mission:Wasteland; RoxyMusic: Sea breezes; Santana:Everystep of the way; R. Dean Taylor:Gotta see Jane; U2: Bulletthe blue sky BAc. E: I-VII Doors:Not to touchthe earth;Echo& Bunnymen: Porcupine;PinkFloyd: Hey you BBa. G: I- VII'-VII-VI' WeddingPresent:Gettingnowhere fast Man: My pearl Automatic BBb. G: I-#VII-VII-IV Tull: Batteriesnot included BC. G: I-VII-III' Jethro Winter:Nothing BDa. G: I-VII-VIMission:Stay withme; Toyah:Birdin flight;Johnny left BDb. A: I-VII-VI All AboutEve: December; Tuesday's child; BarclayJamesHarvest: For no one; Mockingbird;Summersoldier;BigCountry:East ofEden; Flame of the west; David Bowie:Ziggy Stardust;Blue OysterCult: Don't fearthe reaper; Phil Collins:Anotherday in paradise; In the air tonight;Elvis Costello:I don't Mac: Big love; Tango in the night;You make want to go to Chelsea; Fleetwood Down the dolce vita; JimiHendrix:All along the loving fun; PeterGabriel: on 42: I sleep watchtower; Level my heart; Mission: Love me to death; Chris Rea: You must be evil; Slade: Shape of Moore: Hiroshima; Severina; Gary believe a word; Toto:Angela; UriahHeep: Don't Thin to Lizzy: things come; Ash: Sometimeworld Come away Melinda; Wishbone BDc. E: I-VII-VIIsaac Hayes:Theme from'Shaft' Rats: The normal people; Madness:Samantha; MotorBDd. A: I'-VII-VI Boomtown head:Overkill;Supremes:You keep me hangingon BEa. A: I-VII-VI-VBarclayJamesHarvest:Afterthe day; PeterGabriel:Games without Al Stewart:Broadway hotel frontiers; BEb. A: I'-VII-VI-V' FourTops:Bernadette;Ventures:Walk don't run BEc. G: I-VII-VI-V'PinkFloyd:Matilda mother;UriahHeep: Circle of hands; Vapors: Waitingforthe weekend BEd. A: I-VII-VI-V'HerbAlpert:Jerusalem;Animals:Don't let me be misunderstood; Beatles:I'll be back; David Bowie:Moonage daydream;RayCharles:Hit the road Jack;LouisJordan:Is you is or is you ain't my baby; GaryMoore:Hold on to love; GenePitney:Something'sgottenhold of my heart;RoxyMusic: Ifthereis something;Del Shannon:Runaway; StatusQuo: Gerdundula; StoneRoses:Made of stone; Supremes:Love child; Turtles:Happy together;Zager& Evans: In the year 2525 BEe. E: I-VII-VI-V'StevieWonder:Jesuschildrenof America BEf. G: I-VII-VI-bVI'-V'Madness:VictoriaGardens BEg. A: I'-VII-VI-V' Who:Pinball wizard Fine YoungCannibals: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 Manoeuvres:Dreaming BGb. G: I-VII-VI-IV-V'Orchestral & BH. A: I-VII-VI-III-V'Derek Dominos:Why does love got to be so sad BI. E: I-VII'-VI-III-II-IMoodyBlues:Nightsin white satin BJa.G: I-VII-V' ElvisCostello:Moods formoderns; RoxyMusic: Editionsof you BJb.A: I-VII-V' ElvisCostello:I'm not angry BJc.H: I-VII'-V RoxyMusic: 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 BLb. G: I-VII-V'-IV-V'-ILed Zeppelin:The ocean BMa. A: I-VII-V-IBig Country:The red fox BMb. A: I-VII-V'-I BarclayJamesHarvest:Crazy city;Genesis:Eleventhearl of Mar; GeorgeHarrison:Hear me lord; Madness:The blue-skinnedbeast BNa. G: I-VII-IV-VII (HCAa&GBKa) JohnFarnham:You're the voice; Meters: Chicken strut BNb. A: I-VII-IV-VIISheilaWalsh:Under the gun BO. A: I-VII-IV-VI-VAll AboutEve: Only one reason BPa. G: I-VII-IV-VElvisCostello:Sunday's best; MarvinGaye:Wholyholy BPb. A: I-VII-IV-V'KingCrimson:Epitaph BQa. D: I'-VII-IV-IIIToyah:Visions BQb. A: I-VII-IV'-IIIMission:Blood brother BR. D: I-VII-III-IVNikKershaw:The riddle BSa. A: I'-VII-II--VI Toyah:Race throughspace BSb. E: I-VII'-II-VI-VII'Fine YoungCannibals:Ever fallenin love BT. A: I'-VII-I'-VI-IV'-VIIPeterGabriel:Modern love CA. E: I-VI-III-IV-III-IIPeterGabriel:I don't remember DA. A: I-V'-VII-VI-IIIRollingStones:Angie DB. G: I-V-VII-IV(FAQ) BobDylan:Lay lady lay DC. G: I-V'-VII-II-IV--IFourTops:Walk away Renee DD. C: I-V-VIA-Ha: Take on me; Beatles:All you need is love DE. C: I-V-VI-V-IV-V-IPercySledge:When a man loves a woman; Van der Graaf Generator: Refugees DF. C: I-V-VI-V-III'-VIPeterGabriel:Here comes the flood DG. C: I-V-VI-I-IVDoc Browne:Piano man; Simon& Garfunkel: America DH. C: I-V-VI-I-IV-II-V Elvis Costello:There's no action EA. C: I-V-Ix-IV-IV--I-IIx-VCarpenters: Goodbye to love FA. A: I'-II--VII-I-VI-VII--IBeachBoys:Californiagirls GAa. C: II-I PhilCollins:Ifleavingme is easy; JohnLennon:Power to the people; Tina Turner:I don't wanna lose you GAb. E: II-I Phil Collins:If leaving me is easy; Siouxsie& Banshees:Christine;Johnny Winter:No timeto live GB. D: II--I-V-IV- Deep Purple:Hard lovin' man HA. D: III-II-I' XTC: The meetingplace IAa. C: IV-III-II-IGeorgeHarrison:Awaitingon you all IAb. C: IV-III'-II'-I TalkingHeads: Warningsign JA.C: IV-I-V-IVPeterGabriel:San Jacinto KA. C: Vx-I-II-IEricClapton:Anotherticket 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 MB. C: V-bV-IV-III'-bIII'-II'-IPinkFloyd:Intersteller(sic) overdrive NA. G: VII-II-I SimpleMinds: Soul cryingout NB. G: VII-VI-I Supertramp: Hide in your shell; Who:Let's see action NC. A: VII-bVII'-VI-V'-IJimiHendrix:Spanish castle magic


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Class C: Stepwiseascendingharmony AA. C: Io-I PeterHammill:Sunshine AB. E: I-I/-Im-I6-II StevieWonder:Golden lady ACa. C: I-I"-VI-I"Crickets: Don't ever change ACb. C: I-I"-VI-Ix-IV David Bowie:Never let me down; Led Zeppelin:The rain song BAa. F: I-II FleetwoodMac: Dreams; Mission:Let sleeping dogs lie; StevieWonder: Don't you worry'bout a thing BAb. C: I-II DeaconBlue:Silhouette;Madness:In the rain; Wham:Wake me up before you go-go BAc. D: I-II StevieWonder:Visions BAd. E: I-II Madness:Are you coming;Shadow of fear;PinkFloyd:The trial;Talking Heads: I get wild/wildgravity BAe. A: I-IIo Specials:Ghost town BAf. E: I'-II Jefferson Airplane:Whiterabbit BAg. B: I'-II David Bowie:Yassassin BAh. F: I-II-II Beatles:I want to tellyou Turn to stone BAi. G: I-II'-II-IV--V' ElectricLightOrchestra: BB. F: I-II-III' Who:See me feelme BCa. E: I-II-III-IIVan Morrison:Who was that masked man; Toyah:Victimsof the riddle BCb. C: I-II-III-II-IVBeatles:I'm only sleeping BDa. C: I-II-III-IVBeatles:Here there& everywhere BDb. D: I-II-III-IVDeacon Blue:The world is litby lightning BDc. F: I-II--III-IV- StevieWonder:Golden lady BDd. E: I'-II-III-IV' Van derGraafGenerator: Darkness BDe. C: I-II-III-IV-VBand:I shall be released BDf. C: I-II-III-VOrchestral Manoeuvres:Dreaming; PinkFloyd:In the flesh? BEa. C: I-II'-III'-VI-IV-V-IIsleyBrothers: Put yourselfin my place BEb. A: I-II'- III'-VII Motorhead: Metropolis BFa. C: I-II-IVThinLizzy:The boys are back in town BFb. A: I-II'-IV Move: BlackberryWay BGa. C: I-II-IV-IBeatles:And your bird can sing; Genesis:Your own special way; GeorgeHarrison:All thingsmust pass; Rod Stewart:Maggie May BGb. D: I-II-IV-ISantana:Justin timeto see the sun BGc. C: I-II'-IV-I Beatles:Eight days a week; Eric Clapton:Another ticket;George Harrison:Isn't a pity;Let it down; Jam:Butterfly collector;English rose; Move: Brontosaurus;PinkFloyd:Braindamage; ProcolHarum:Homburg; RoxyMusic: Whateverwould Robert Beautyqueen; Vapors:Trains; Van derGraafGenerator: have said? BGd. C: I-II'-IV--I MarvinGaye& TammiTerrell:You're all I need to get by BHa. C: I-II-IV-VBe-BopDeluxe:Ships in the night;David Bowie:Young Americans; Jam:Away fromthe numbers; BillyJoel: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; Equals: Viva Bobby Joe; RoxyMusic: Would you believe?; Vapors:Cold war BI. E: I'-II-IV'-VII'-bV'-VIPinkFloyd:LuciferSam


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BJ.F: I-II-V-IByrds:Mr Spaceman BK. C: I-II'-V-IVKinks:You reallygot me BL. A: I'-II'-VI David Bowie:Boys keep swinging BMa. G: I-II-VII Deacon Blue:Fergus sings the blues BMb. G: I-II-VII-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 Mac: leaking; Derek& Dominos:Layla; Dire Straits:Sultans of swing; Fleetwood Tull: Pussy willow; Paul McCartney:Ou est Go your own way; Oh well; Jethro le soleil; GaryMoore:Victimsofthe future;GrahamParker:Stickto me; Siouxsie & Banshees:The staircase(mystery) DAb. D: I'-VI--VII Move: Wild tigerwoman DAc. A: I'-VI-VII Jam:News of the world EAa. C: II-I-LVMarthaReeves:JimmyMack EAb. C: II-I-IV-VPeterGabriel:Slowburn EAc. A: II--I-IV-V'-VI-VII-IPeterGabriel:Waitingforthe big one EBa. C: II-III-IV-V-ITearsforFears:Everybodywants to rule the world; Wham:Wake me up beforeyou go-go EBb. C: II'-III'-IV-V-ITheymightbegiants:We want a rock ECa. C: II-IV-IBonJovi:I'll be thereforyou; EmersonLake& Palmer:Lucky man ECb. C: II'-IV-I Led Zeppelin:Bron-y-aurstomp; JohnLennon:Whatever gets you throughthe night ED. C: II-V-VI-VII--I-II-III'SimpleMinds:Streetfightingyears FA. C: III-I-VI-VII-IKinks:Set me free FB. A: III-VI'-VI-VII-I' Who:I can see formiles FC. A: III-VI-VII-IVapors: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:Gimmegimmegimme;Summernightcity;ABC: The look of love; Asia: Sole survivor;Beatles:I am the walrus; BonJovi:Born to be mybaby; Wild is the wind; EricClapton:I can't stand it;ElvisCostello:The beat; Deacon Blue: The world is lit by lightning;Deep Purple:Child in time; Livin' wreck; Def Leppard:Women; FleetwoodMac: Caroline; Isn't it midnight;Peter Gabriel:Intruder;GangofFour:Returnthe gift;JimiHendrix:Voodoo chile;Jam: Eton rifles;Jethro Tull: Crossfire;Orion; Something's on the move; Madness: Mr Speaker gets the word; GaryMoore:Law of the jungle; R.E.O. Speedwagon: Ridin' the stormout; Sad Cafe:Black Rose; SimpleMinds: Sound in 70 cities; Wall of love; Siouxsie& Banshees:The staircase(mystery);Rod Stewart:Reason to believe; Toto:Georgyporgy;Tina Turner:Foreignaffair;UriahHeep:Walking in your shadow; Sheila Walsh:Thiefin the night;JohnnyWinter:Rock & roll hoochie koo A: VI-VII-I' Beatles:Lady Madonna; Level42: Somethingabout you; Pet Shop IAc. Boys: West end girls; Roxy Music: Chance meeting; SecretAffair:Time for action; T. Rex:TelegramSam; TalkingHeads: Artistsonly; StevieWonder:I was made to love her JAa. G: VII-I Beatles:Tomorrownever knows; Doors:L.A. woman; BryanFerry:The


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'in' crowd; FleetwoodMac: Family Man; Led Zeppelin:Hots on fornowhere; SteveMiller band: Shangri-La; NashvilleTeens:Tobacco Road; T'Pau: Taking timeout JAb.A: VII-I (BBAb) EmersonLake& Palmer:Touch & go; FairportConvention: Matty Tull: WorkingJohnworking Groves; PeterGabriel:Shock the monkey;Jethro Joe; King Crimson:21st centuryschizoid man; Led Zeppelin:Immigrantsong; GaryMoore:Nuclear attack;ChrisRea: You must be evil; RoxyMusic: For your pleasure JAc.C: VII'-I- JimiHendrix:One rainywish JAd.G: VII--I Madness:New Delhi Class D: Submediant sequences AAa. A: I-bI'-VI- RoxyMusic: Chance meeting AAb. C: I-M-VIGeorgeHarrison:Ballad of Sir FrankieCrisp AAc. A: I'-Ix-VI-V'PinkFloyd:Eclipse ABa. C: I-VI BoomtownRats: Living in an island; Elvis Costello:Miracle man; You belong to me; Derek & Dominos:Why does love got to be so sad; George Harrison:Awaitingon you all; My sweet lord; BuddyHolly:Maybe baby; Jam: When you're young; JohnLennon:Instant karma!; LittleEva: Locomotion; Melanie:Ring the livingbell; SteveMillerband:Bongo bongo; Monkees:Goin' down; Searchers:Don't throwyour love away; Paul Simon:Slip slidin' away; SmallFaces: ItchycooPark; Theymightbegiants:Sapphire bullets 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; Tha Fall: My new house; Fleetwood Mac: Rhiannon; Led Zeppelin:Achilles last stand; Madness: You said; Marillion:Script for a jester's tear; Police: Message in a bottle; Truth hits everybody; Procol Harum: Conquistador; Roxy Music: Strictlyconfidential; Siouxsie& Banshees:Arabian nights; Supertramp: Asylum; Crime of the cenAsh:Warrior tury;U2: Exit; Vapors:Bunkers; Wishbone ABc. E: I-VI U2: Indian summersky ABd.D: I-VIm Doors:Lightmy fire Let's get physical;ProcolHarum:Conquistador ABe. A: I-VIMOlivia Newton-John: Heartbeat ABf. A: I-VI- KingCrimson: ABg. A: I'-VI David Bowie:Suffragettecity;Family:In my own time; Led Zeppelin: Candy storerock;TransvisionVamp:Down on you AC. G: I-VI-VII-VJam:Absolute beginners;Level42: Somethingabout you Twins:Hold me now ADa. C: I-VI-VII-IVThompson ADb. A: I-VI-VII-IVPolice:Message in a bottle;SimpleMinds:Take a step back AE. A: I-VI-VII-IIISmiths:Stillill AF. C: I-VI-bVI-IVRoxyMusic: Ain't thatso AGa. C: I-VI-V Big Country:Tall ships go; ElvisCostello:Hand in hand; Lip service; Foundations:Born to live & born to die; BuddyHolly:Maybe baby; Orchestral Manoeuvres:So in love; ThinLizzy:Wild one; Vapors:Waitingforthe weekend AGb. A: I'-VIx-V' BillyJoel:Stormfront AGc. H: I-VI-V PeterGabriel:No self control;PeterHammill:Sunshine; GeorgeHarrison:Art of dying;Jam:Precious; Madness:Mr Speaker gets the word; Chris Rea: I just want to be withyou; Toto:Takin' itback


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AH. A: I'-VI-V'-VII-bV'-IV'Madness;Michael Caine AI. C: I-VI-V-VIClash:Somethingabout England AJa.C: I-VI-V-IVFine YoungCannibals:Tell me what AJb.C: I-VI-V"-IVPinkFloyd:Us & them AK. F: I-VI'-V-IIBeatles:Dr Robert Tull: Rock island; GaryMoore:Hiroshima; AL. A: I-VI-IVAbba:Voulez-vous; Jethro Neil Young:Southernman AMa. G: I-VI-IV-VIIJam:That's entertainment AMb. A: I-VI-IV-VIIBangles:He's got a secret;DefLeppard:Love bites; GaryMoore: Run to your mama ANa. C: I-VI-IV-VIIMission:And the dance goes on; TalkingHeads:This mustbe the place ANb. A: I-VI-IV'-VII-V'Blondie:Atomic BAa. C: I-VI-IV-V(FDD&IADa) Abba:Mama mia; Paul Anka:Diana; Arrival:Friends; South:I'll sail this Beatles:Any timeat all; I should have known better;Beautiful I'll be there for Ride Bon for whoever; Jovi: cowboy ride; you; ship alone; Song David Bowie:Ashes to ashes; Cygnetcommittee;JamesBrown:Tryme; Johnny Revival:Lodi; Burnette: Dreamin'; Elvis Costello:The beat; CreedenceClearwater Deacon Blue: Circus lights;Love & regret;Diamonds:Littledarling;Four Tops: Walk away Renee; Marvin Gaye:Mercy mercyme; What's going on; Gentle I like it; GeorgeHarrison:Run of the Giant:No stranger;Gerry& Pacemakers: I guess I'll Houston:I wanna dance withsomebody;IsleyBrothers: mill; Whitney in the In the Man corner love town; Jam: shop; Strange Billy city; you; always Joel:Stormfront;Ben E. King:Stand by me; LedZeppelin:D'yer mak'er;Frankie Lymon:I'm not a juvenile delinquent;Why do fools fallin love; Meat Loaf:For Manoeuvres:Enola Gay; Ifyou cryingout loud; Nazareth:Love hurts;Orchestral So leave; PinkFloyd:The thin ice; Elvis Presley:Returnto sender; Pretenders: Unchained melody;Roxy Brothers: special; Queen:Somebody to love; Righteous Music: Bittersend; Dance away; Del Shannon:Runaway; Simon& Garfunkel: Mrs Robinson; Theymightbegiants:Lucky ball & chain; Tina Turner:The best; Van Halen: Prettywoman; BobbyVee:Rubberball; Take good care of mybaby; MartyWilde:Donna; StevieWonder:I'm wondering BAb. A: I-VI-IV-VGaryMoore:Rest in peace BAc. A: I-VI-IV-V'All AboutEve: Dream now on a wheel; SpandauBallet:True BBa. C: I-VI-IV-IIIMission:Butterfly BBb. C: I-VI-IV-IIIEmersonLake& Palmer:Lay down your guns BBc. C: IbVI-IV-IIIAdam& Ants:Ant music Wild west hero; Peter BC. C: I-VI-IV-II-VBeachBoys:Darlin'; ElectricLightOrchestra: Gabriel:SolsburyHill BDa. C: I-VI-IV-IDavid Bowie:Oh you prettythings;Soul love; EricClapton:Let it Revival:Looking out myback door; RoxyMusic: Sea Clearwater grow; Creedence breezes; Rod Stewart:Sailing; ThinLizzy:Whiskyin the jar; Vapors:Letterfrom Hiro BDb. A: I-VI-IV-IElvis Costello:Lipstickvogue BDc. C: I-VI-IV--I-VBeatles:Any timeat all BE. A: I-VI-III-VIBig Country:The teacher BFa. C: I-VI-III-VBeatles:She loves you; David Bowie:Starman;Family:No mule's fool BFb. A: I-VI-III-VAliceCooper:Poison


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BFc. C: I-VI-III'-VDavid Bowie:Prettieststar BG. C: I-VI-III-IV-VTina Turner: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; EmersonLake & Manoeuvres:Electricity Powell:Love blind; Orchestral E: Led No BJ. I-VIT-IIw Zeppelin: quarter BKa. C: I-VI-II'-IVDavid Bowie:Five years BKb. C: I-VI'-II'-IV GeorgeHarrison:I dig love CA. A: I-VI-IV-III-VIIProcolHarum:The milkof 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:Justa shadow EB. A: VI-IV-I-V(FAHb) EricClapton:Hold me Lord ECa. C: VI-IV-I Meters:Pocky-a-way;Police:Truth hits everybody;SimpleMinds: The American ECb. A: VI-IV-IBarclayJamesHarvest:Paper wings; BobDylan:Slow traincoming FA. C: VI-III'-V-IProcolHarum:Ramblingon GA. C: VI-I-V-IVBig Country:Hold the heart GB. A: VI-I-II-IIINikKershaw:Cityof angels GCa. C: VI-I Big 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'-I David Bowie:Rock 'n' roll suicide GCd. A: VIT-IPeterHammill:Solitude GCe. A: VI-I' GeorgeHarrison:Let it down Class E: Mediantsequences AAa. F: I-III BarclayJamesHarvest:She said AAb. A: I-III Echo& Bunnymen: Ripeness; PinkFloyd:Pow R. Toc H.; Smiths:Pretty girlsmake graves; StapleSingers:Respect yourself;UriahHeep: Easy living AAc. C: I-III' Bangles:More than meets the eye AAd. A: I'-III TalkingHeads: Take me to the river;UriahHeep: Paradise ABa. C: I-III-I-IV-VElvisCostello:Red shoes ABb. C: I-III'-I-IV SmallFaces:ItchycooPark ACa. G: I-III'-II'-II-V'-VIIGeorgeHarrison:Wah wah ACb. A: I-III-II'-bII' Madness:Time fortea Ash:The ADa. D: I-III-II-IVRoxyMusic: In everydreamhomea heartache; Wishbone come will king ADb. D: I-III-II'-IVGaryMoore:Murderin the skies ADc. F: I-III'-II-VBeautifulSouth:I love you (but you're boring) AEa. C: I-III-IV David Bowie:Rock 'n' roll with me; Icicle Works:Sweet Thursday; Move: BlackberryWay AEb. D: I-III-IV BookerT & MGs: Green onions; Eric Clapton:Aftermidnight;Jimi Hendrix:Wait untiltomorrow;Mission:Sacrilege;Queen:Anotherone bitesthe dust; StevieWonder:Higher ground; Z.Z. Top:La grange AEc. A: I-III-IV Smiths:What differencedoes it make?; Supertramp: Bloody well Ash: Leaf & stream right;Wishbone


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AEd. D: I'-III-IV Jeff Beck:Beck's bolero; CannedHeat: On the road again; BillyJoel: That's not her style;Led Zeppelin:Bron-y-aurstomp; Candy store rock; Chris Rea: Your warm & tenderlove; Tina Turner:Steamywindows; Johnny Winter: Rock & rollhoochie koo AFa. C: I-III-IV-IBand:The weight AFb. C: I-III'-IV-IJohnny Burnette: You're sixteen;PinkFloyd:Nobody home AFc. C: I-III-IV-I-VDexy'sMidnightRunners:Come on Eileen AGa. C: I-III-IV-IIBand:In a station AGb. C: I-III'-IV-II' Otis Redding:Dock of the bay AGc. D: I'-III-IV-II-IV-V'Who:I'm free AH. D: I-III-IV-IV-Yardbirds: For yourlove C: I-III-IV-V (GAHa&ICCa) Abba:Knowing me knowingyou; BeachBoys:I can AIa. hear music; David Bowie:Ziggy Stardust;EricClapton:Easy now; ElvisCostello: Oliver's army;Housemartins: Happy hour; Jam:Down in the tube stationat midnight;Going underground;ManfredMann: Justlike a woman; Marmalade: Baby make it soon; ThinLizzy:Waitingforan alibi; Tina Turner:Be tenderwith me baby AIb. D: I-III-IV-V'Motorhead:Pay your price AIc. A: I-III-IV-VDuran Duran: Save a prayer AId. C: I-III'-IV-VJohnny Winter:Ain't thata kindness A: I-III-IV'-V Harvest:Crazy city James Barclay AIe. A: I-III-IV'-bV' Madness: AIf. Baggy trousers AIg. C: I-III'-IV-V-VIDavid Bowie:Rock 'n' roll suicide AJa. A: I-III-IV'-VI (B) Animals:House of the rising sun; ElectricLightOrchestra: Standin' in the rain;Johnny Winter:Let the music play AJb.D: I'-III-IV-VITalkingHeads: The good thing AJc.A: I'-III-IV'-VI-VII-I'Beatles:I am the walrus; Meters:I need more time AJd.A: I-III-IV'-VI-VIICream:Whiteroom; Slade:Shape of thingsto come AKa. C: I-III'-IV-VII'-IIcicleWorks:Travellingchess AKb. D: I'-III-IV-VII-V'JimiHendrix:Ain't no telling BA. A: I-III-VAbba:Gimme gimmegimme;Herman'sHermits:No milktoday BBa. A: I-III-V-IVFineYoungCannibals:Good thing BBb. A: I-III-V-VISimpleMinds:Let it all come down BC. C: I-III-VI Big Country:Flame of the west; CultureClub: Do you reallywant to hurtme; JohnLennon:Instantkarma! BDa. C: I-III-VI-Ix-IV-II-V Marmalade:Reflectionsof my life BDb. C: I-III'-VI-Ix-IV-IV--I (IPA) JohnLennon:Woman is the niggerof the world BDc. C: I-III'-VI-I-IV-VDerek& Dominos:Bell-bottomblues BE. E: I-III-VI-IIBeatles:Things we said today BF.C: I-III-VI-IIIBerlin:Take my breathaway BGa. C: I-III-VI-IVIsleyBrothers: This old heartofmine;Jimmy Whatbecomes Ruffin: of the brokenhearted BGb. C: I-III'-VI-IVElectricLightOrchestra: Jungle BGc. C: I-III'-VI'-IV Theymightbegiants:Road movie to Berlin BGd. A: I-III-VI-IV'Neil Young:Southernman BHa. C: I-III-VI-VFineYoungCannibals:It's ok; GeorgeHarrison:Awaitingon you all BHb. A: I-III-VI-V'Siouxsie& Banshees:Happy house Mac: Littlelies BIa. A: I-III-VI-VIIFleetwood Bib. G: I-III-VI-VIIToto:Rockmaker


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Ash: The kingwill come BJa.D: I-III-VII Wishbone Bloody BJb.A: I-III-VII David Bowie:Wild is the wind; PinkFloyd:Time; Supertramp: well right Rats:The normalpeople; RoxyMusic: For your pleasure; BJc.A: I'-III-VII Boomtown Re-make/re-model BKa. A: I-III-VII-IBig Country:Lost patrol; Remembranceday; Dead & Alive:You spin me round; Melanie:Stop I don't wanna hear it BKb. A: I-III-VII-IMSteam:Nananana Afterthe flood BKc. A: I'-IIIM-VII-I'Van derGraafGenerator: BL. G: I-III-VII-II-V'FineYoungCannibals:I'm not the man I used to be BM. A: I-III-VII-VIBonJovi:Wild is the wind; GaryMoore:Murderin the skies BN. G: I-III--VII-V' Kinks:Tired of waitingforyou CAa. A: III-I' Echo& Bunnymen: Clay; PeterGabriel:Not one of us CAb. A: III4-I7Phil Collins:Throughthese walls DAa. A: III-IV-I' (FDC) T. Rex: Get it on DAb. D: III-IV-I' BobDylan:Do rightto me baby DAc. A: III'-IV'-I PlasticOno Band:Cold Turkey EA. A: III-IV-I-VILevel42: Leaving me now FAa. A: III-VI-IPinkFloyd:Anotherbrickin the wall FAb. A: III-VI-I' Motorhead:Overkill GAa. A: III-VII-I (HEA) Def Leppard:Rocket; PeterHammill:The birds; Police:Roxanne; SimpleMinds:Mandela day; Toyah:Danced GAb. A: III-VII-I' ElvisCostello:Partygirl;Z.Z. Top:Heard it on the X GB. G: III'-VII-V'-I Be-BopDeluxe:Like an old blues Class F: Dominantsequences Aa. F: I-V EmersonLake& Powell:Learningto fly Ab. C: I-V Elvis Costello:Two littleHitlers;Big Country:Rain dance; ShirleyBrown: Stay with me baby; FleetwoodMac: Never going back again; ProcolHarum: Boredom; Transvision Vamp:The only one; WeddingPresent:All this& more; A millionmiles; My favouritedress AAc. G: I-V Don Covay: See saw; Echo & Bunnymen:Back of love; Mel & Kim: Manoeuvres:Messages; U2: In God's country Respectable; Orchestral AAd. A: I-V All AboutEve:Dream now; BarclayJamesHarvest:She said; Big Country: Lost patrol;Madness:Not home today; Tiptoes; PinkFloyd:Hey you AAe. H: I-V Echo& Bunnymen: Porcupine; TheFall: Spoilt Victorianchild; Madness: Take it or leave it; Turningblue; Motorhead:Stay clean; RollingStones:Paint it black AAf. C: I-V" ElectricLightOrchestra: Starlight AAg. B: I--V Van Halen: Intruder ABa. C: I-V-I Abba: Take a chance on me; Beatles:Yellow submarine; Creedence Revival:Have you seen the rain; Up around the bend; Family:In my Clearwater own time;Jam:A bomb in Wardour Street;Rattles:Sunshine everyday; Thin Lizzy:Killeron the loose; Who:Happy Jack ABb. H: I-V-I Bob Dylan: Man gave names to all the animals; Theymightbe giants: Istanbul (not Constantinople) ACa. A: I-V'-II-IV-VI-IV-V'-INikKershaw:Roses


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ACb. F: I-V-II-VMove: Yellow rainbow ACc. C: I-V-II-V Eagles: Tequila sunrise; PeterHammill:Candle; T'Pau: Only the lonely ADa. A: I-V'-III-IV'-VI-VIIEricClapton:Let it grow ADb. A: I-V'-III-VIIMotorhead: Damage case AEa. C: I-V-IV (HAE) Big Country:Chance; David Bowie: Queen Bitch; Ziggy Stardust; Phil Collins: I wish it would rain; Def Leppard:Run riot; Derek& Dominos:Anyday; Eagles: Already gone; PeterHammill:Re-awakening;Icicle Works:Hope springs eternal;Kinks:Waterloo sunset; Madness:Close escape; Michael Caine; TalkingHeads: The big country;WeddingPresent:All this & more; Everyonethinkshe looks daft;What did your last servantdie of? AEb.A: I-V-IVEricClapton: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-V Beach Boys: God only knows; BeautifulSouth:From under the covers; Woman in the wall; Big Country:I walk the hill;The sailor;PhilCollins: It don't matterto me; FleetwoodMac: I don't want to know; GeorgeHarrison: Apple scruffs;JonathanKing: Everyone's gone to the moon; Led Zeppelin: Lincoln County; Madness:March of the gherkins;VicTangerine; LoveAffair: toriaGardens; MotttheHoople:Roll away the stone; Queen/DavidBowie:Under pressure; T'Pau: Secretgarden; Vapors:News at ten AHb. A: I-V-IV-V(DEB) BeachBoys:Good vibrations;PhilCollins:This mustbe love; GentleGiant:Aspirations;NikKershaw:Wide boy AI. C: I-V-VI-I(BD) CreedenceClearwaterRevival:Proud Mary; StevieWonder:He's MisstraKnow-it-all C: AJa. I-V-VI-I-IV-II-V(ABB) ElvisCostello:There's no action; Slade: Far faraway Madness:Disappear AJb.C: I-V-VI-I-IV-V-I AK. F: I-V-VI-II(B) Blondie:Atomic;Byrds:I'll feela whole lot better ALa. C: I-V-VI-III-IVXTC: Ballet fora rainyday ALb. C: I-V-VI'-III-IVGentleGiant:Cogs in cogs AM. A: I-V'-VI-III'-VIIMadness:Rise & fall ANa. C: I-V-VI-IV (DDB) Big Country:The sailor; CreedenceClearwaterRevival: Someday nevercomes; Dire Straits:Romeo and Juliet;BillyJoel:Shameless; We didn't startthe fire;BobMarley:No woman no cry;Paul McCartney:Figure of Take me eight;McGuinnessFlint:When I'd dead and gone; OliviaNewton-John: home country roads; OrchestralManoeuvres:Tesla girls; Police: So lonely; Smiths:Reel around the fountain;Vapors:Somehow ANb. E: I'-V'-VI-IV--II-V'-IBillyJoel:State of grace ANc. C: I-V-VI-IV-VDerek& Dominos:Bell-bottomblues AOa. C: I-V-VI-V(GBB) Leo Sayer:When I need you AOb. A: I-VI-V-IV-VII-IPolice:Roxanne APa. A: I-V-VII Level42: Physical presence; Smiths:You've got everythingnow; ThinLizzy:Waitingforan alibi; Wishbone Ash:Warrior APb. G: I-V'-VII JimiHendrix:If six was nine; Toto:Manuela run AQ. A: I'-V'-VII-IV-VII(BDB) Toto:Angela AR. A: I'-V'-VII-VI Toyah:Race throughspace BA. C: II-V-I-V(ILA) Kinks:Autumn almanac BB. E: II--VII-V--IJethro Tull: Crossfire


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DBa. C: IV-V-I (GAHa) Elvis Costello:This year's girl; Eagles: Take it to the limit; Marvin Gaye & TammiTerrell:It takes two; Peter Gabriel:Kiss of life; Nik Kershaw:You might; Nazareth:Broken down angel; OrchestralManoeuvres: Souvenir; PinkFloyd:Vera; ChrisRea: Tell me there'sa heaven; Vapors:Waiting forthe weekend; JuniorWalker:How sweet itis; Who:I'm a boy; StevieWonder: Living in the city DBb. A: IV-V-I FleetwoodMac: Big love; Oh Daddy; David McWilliams:Days of PearlySpencer; Toto:Hold the line DBc. A: IV-V-V'-IPaul McCartney:Distractions DC. C: TV-V-I-III'(EDAa) JohnLennon:Imagine DD. C: IV-V-I-VI (DBAa) BarclayJamesHarvest:Galadriel; David Bowie:Ashes to Revival:Have you ever seen the rain;KylieMinogue: Clearwater ashes; Creedence Turn it into love; R.E.O. Speedwagon:Son of a poor man; ChrisRea: Daytona EAa. C: V-I Byrds:Turn! turn!turn!; Deep Purple: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 Van derGraafGenerator: Whitehammer FA. C: V-VI-IRoxyMusic: Spin me round FB. C: V-VI-IV-V-IBeachBoys:Break away GA. A: VI-IV-V-I(DEA) Police:I can't stand losing you GBa. C: VI-V-I BeautifulSouth:You keep it all in; Fine YoungCannibals:Don't let it get you down GBb. H: VI-V-I ShockingBlue:Venus; Tina Turner:Undercoveragent forthe blues HA. G: VII-V-IJam:Smithers-Jones Class G: Subdominant sequences AAa. C: I-I--TVLed Zeppelin:The rain song AAb. C: I-I=-IV GeorgeHarrison:Isn't it a pity AAc. C: I-Ix-IV(B) Fleetwood Mac: Welcome to the room ... Sara AAd. C: I-Ix-IV-IV-IcicleWorks:When you were mine AAe. C: I-I-IV 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-TV-Io-I GeorgeHarrison:I dig love ABa. C: I-IV Abba: Mama mia; Beatles:Lady Madonna; Revolution;Be-BopDeluxe: Blazing apostles; Fair exchange; Like an old blues; Big Country:Angle Park; Close action; Blood Sweat & Tears: Hi-de-ho; Byrds:Chimes of freedom;Mr Tambourine man; Eric Clapton:Motherless children; Dave ClarkFive: Bits & pieces; Glad all over; Phil Collins: Like china; Elvis Costello:Pay it back; Revival:Hey tonight;Deacon Blue: Wages day; Your conCreedenceClearwater stant heart; Def Leppard:Excitable;Donovan:Colours; EddieFloyd:Bringit on home to me; ArethaFranklin:Respect; PeterGabriel:Biko; PeterHammill:Child; Knight:I've been lonelyforso long; JeanKnight:Mr. Big Stuff; Viking;Frederick JohnLennon:Imagine; McGuinnessFlint:When I'm dead and gone; Meat Loaf: You took the words rightout of my mouth; SteveMillerband:Who do you love; Nazareth:This flighttonight;JohnOtway& WildWillyBarrett: Reallyfree; WilsonPickett:In the midnighthour; PinkFloyd:In the flesh?;R.E.O. Speedwa-


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gon:Find my fortune;Starta new life;Lou Reed:Walk on the wild side; Rolling Stones:Fool to cry; Santana:Song of the wind; SecretAffair:Time foraction; Selecter:On my radio; T. Rex: Telegram Sam; Temptations: Ain't too proud to beg; Them:Here comes the night;Theymightbegiants:Birdhousein your soul; Letterbox;U2: MLK; Runningto stand still ABb. D: I-IV Bee Gees: Stayin' alive; Marvin Gaye: Inner city blues; Haircut100: Favouriteshirts;Hue & Cry:Labour of love; Paul McCartney:Rough ride; Pink Floyd:Any colour you like; Breathe; Pow R. Toc H.; Police:Hole in my life; Santana:She's not there; Shockin'Blue: Venus; SwingingBlueJeans:You're no good ABc. A: I-IV Kate Bush: James & the cold gun; Doors: People are strange; King Crimson:Book of Saturday ABd. G: Ix-IVxElvisCostello:Pump it up; TalkingHeads: Found a job ABe. C: I-IV-IBig Country:Tall ships go; EricClapton:Mainline Florida; PhilCollins: Behind the lines; SteveMillerband:Jetair 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-IV-I(KAEa) U2: I stillhaven't foundwhat I'm lookingfor AD. C: I-IV-I-VIJimiHendrix:One rainywish AEa. C: I-IV-II-IByrds:The bells of Rhymney AEb. G: I-IV-II-I-IVJoeCocker& Jennifer Warnes:Up where we belong AEc. C: I-IV-II-IV Be-BopDeluxe: Sleep that burns; Def Leppard:Hysteria; George Harrison:If not foryou; RoxyMusic: My littlegirl AEd. C: I-IV-II'-IVDeacon Blue:This changinglight AEe. C: I-IV-II-IV-VOrchestral Manoeuvres:Locomotion AEf. C: I-IV-II'-V'-III-VI(IADa) ElvisCostello:Busy bodies AFa. D: I-IV-III BonJovi:Lay your hands on me; EricClapton:Rita Mae AFb. A: I'-IV'-III UriahHeep: Real turnedon AFc. C: I-IV-III'-IV-II'-IV-VJohnLennon:No.9 dream AFd. D: I-IV-III-VIIDeep Purple:Speed king AFe. D: I'-IV-III-VIIBangles:Hero takes a fall AGa. C: I-IV-IV--IStevieWonder:He's MisstraKnow-it-all AGb. D: I-IV-IV--I BarclayJamesHarvest:She said; Level42: I sleep on my heart; If everyonewas listening Supertramp: 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 down to Liverpool; James; Beatles:Here comes the sun; Lucy in the sky with diamonds; Be-BopDeluxe: Heavenly Beck:Hi-ho silver lining; Bon Jovi:Stick to your guns; Boomtown homes; Jeff Rats: She's so modern; JudyClay & WilliamBell: Privatenumber;Phil Collins: Like china; Elvis Costello:Littletriggers;DefLeppard:Pour some sugar on me; JimDiamond:I should have known better;Ian Dury: Clevor Trever; Echo & The cutter;ElectricLightOrchestra:Sweet is the night;Fine Young Bunnymen: Cannibals:Don't look back; Fleetwood Mac: Seven wonders; ArtGarfunkel: All I Hollies: Carrie Icicle Works: Who do you want foryourlove; Jethro know; Ann; Tull: Crossfire;Nik Kershaw:Wide boy; Wild horses; Kinks:Autumn almanac; Led Zeppelin:The ocean; Madness: Prospects; Meat Loaf:All revved up & no place to go; SteveMillerband:Swing town;Move:Flowers in the rain; Orchestral Manoeuvres:Secret; BrianPoole: Do you love me?; ProcolHarum:Ramble on;


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Your own choice; Queen: Now I'm here; R.E.O. Speedwagon:Withoutexpression; RollingStones:Get offofmy cloud; Theymightbegiants:Dead; Your racist friend;Smiths:The hand thatrocks 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:Springcollection;SheilaWalsh:Don't hide your heart; WeddingPresent:Gettingnowhere fast; Who:Anyway anyhow anywhere;Neil Young:Only love can break yourheart AHb. D: I-IV-VDead & Alive:You spin me round AHc. A: I-IV-VPhil Collins:I missed again; KingCrimson:The nightwatch; 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'-V 10000 volts: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;Bon Jovi:Love forsale; Erasure:Drama; GladysKnight:Take me in yourarms;Meat Loaf:For cryingout Manoeuvres:Joanof Arc; PinkFloyd:Free four;Supremes:The loud; Orchestral Transvision Vamp:Born to be sold happening; Abracadabra band: Miller I-IV-V-I A: Steve AIb. of the game; BookerT & MGs: Soul limbo; Eddie name The I-IV-V-IV Abba: C: AJ. Summer& lightning;Peter Cochran:C'mon everybody;ElectricLightOrchestra: Manoeuvres:If you leave; PinkFloyd:Stay; Gabriel:Familysnapshot; Orchestral Police:Born in the 50s; BrianPoole:Game of love; Sandpipers:Hang on Sloopy; Searchers:Sweets formy sweet; TransvisionVamp:Baby I don't care; Troggs: Wild thing;UB40: Red red wine AK. C: I-IV-V-VIBonJovi:Stickto yourguns; StringDrivenThing:It's a game; T'Pau: Island Winter:Guess I'll go away AL. G: I-IV-V'-VIIJohnny AMa. A: I-IV-VI-IPaul McCartney:We got married AMb. A: I-IV'-VI-IDavid Bowie: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 AO. A: I-IV'-VI-III-VIIDavid Bowie:Suffragette city AP. C: I-IV-VI-IV Big Country:Inwards; Bob Dylan: Precious angel; Madness: E.R.N.I.E. AQa. C: I-IV-VI-VBig Country:Close action; Fine YoungCannibals:She drives me crazy; KylieMinogue:Love at firstsight AQb . H: I-IV-VI-VChrisRea: The road to hell (pt.2) AQc. G: I-IV-VI-V-VIIBig Country:The greatdivide; BonJovi:Blood on blood; Phil Collins:Behind the lines; U2: Where the streetshave no name AR. A: I'-IV'-VI-VII ChrisRea: Texas BAa. C: IV-I Big Country:100 stars; David Bowie:It ain't easy; ArthurConley:Sweet soul music; Elvis Costello:Miracle man; Nightrally;DeaconBlue: Circus lights; Real gone kid; Eagles: One of these nights; FleetwoodMac: Songbird; Eddie Floyd:Knock on wood; Jam:Thickas thieves; RoxyMusic: Cry crycry;Terence Trentd'Arby:If you let me stay; U2: Elvis Presley & America; Promenade; A sortof homecoming BAb. D: IV-I Led Zeppelin:For your life BAc. A: IV-I Madness:Embarrassment;PinkFloyd:Childhood's end BAd. C: IVx-IxBobDylan:Do rightto me baby


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BBa. C: IV-I-II-IDeacon Blue:Orphans BBb. E: IV-I-II-I(FAO) Slade: Coz I luv you; ThinLizzy:Jailbreak BC. C: IV-I-II-IV-V-IBe-BopDeluxe:Cryingto the sky BD. C: IV-I-II-VElectricLightOrchestra: Summer & lightning;PinkFloyd:Time BE. C: IV-I-II'-V Boomtown Rats:Me & Howard Hughes BF. A: IV'-I-III-VII-VISupertramp: Crimeof the century BG. C: IV-I-IV-VDerek& Dominos:Tell the truth BH. C: IV-I-V-I Big Country:Steeltown; Byrds:All I really want to do; Creedence ClearwaterRevival:Down on the corner;Jam:Smithers-Jones;Theymightbe giants:We want a rock BI. C: IV-I-VI-IDavid Bowie:Starman BJ.C: IV-I-VI-II'-VPeterGabriel:And throughthe 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 cannotbelieve it's true;NikKershaw:Save the whale BM. D: IV-III-IPhilCollins:I don't care any more BN. A: IV-III-IV-IPinkFloyd: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-IFleetwood Mac: The chain CAa. C: V-IV-I (HAEa) Big Country:Harvest home; KateBush:The kickinside; Billy Joel:That's not her style CAb. G: V-IV-I GeorgeHarrison:All thingsmust pass; SimpleMinds: Streetfighting years CAc. A: V-IV-IPinkFloyd:Money CB. C: V-IV-I-IV-II-IPeterGabriel:Wallflower Class H: Sharpwisecyclicsequences AAa. A: I-III-VII-IV-IKinks:Dead End Street AAb. D: I-III-VII-IVFineYoungCannibals:I'm not satisfied;Jethro Tull:4 W.D.; Meat Bat out of Siouxsie & Banshees: Arabian hell; Loaf: nights ABa. F: I-V-IIDeep Purple:Flightof the rat ABb. C: I-V-IIAbba:Super trouper;Beatles:Witha littlehelp frommyfriends;Dexy's MidnightRunners:Come on Eileen; Supremes:Where did our love go?; They mightbegiants:Hearing aid ACa. C: I-V-II-IVDefLeppard:Run riot ACb. C: I-V-II'-IVBoomtown Rats:I never loved Eva Braun ACc. A: I'-V-II--IV Madness:Our house AD. C: I-V-II-VI-VGaryMoore:Rest in peace AEa. C: I-V-IV-I(FAE&GCAa) Band: Long black veil; David Bowie:Diamond dogs; CreedenceClearwaterRevival:Bad moon rising;Fortunateson; FleetwoodMac: Go yourown way; Kinks:Village Green PreservationSociety;Marmalade:Baby make it soon; Who:Substitute AEb. H: I-V-IV'-IEagles:Witchywoman; GentleGiant:Giant fora day AFa. G: I-V-VII-IVJimiHendrix:One rainywish AFb. A: I-V-VII-IVSupertramp: School When the AFc. G: I-V'-VII-IV Icicle Works:Walking with a mountain; Lindisfarne:


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war is over; PinkFloyd:Comfortablynumb; Fat old sun; Transvision Vamp:Kiss theirsons; U2: Red Hill miningtown; Unforgettablefire;Van Halen: 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-IEricClapton:Let it rain AGb. D: I-V-VII-IV-I'Wishbone Ash:Warrior BA. A: I-VI-III-VIISheilaWalsh:Hope forthe hopeless BB. A: I'-VII-V'-III-VII-IVPinkFloyd:Burningbridges;Mudmen CAa. G: I-VII-IV (BBNa&GBKa&HJB) Bangles:Live; Bar-Kays:Soul finger;Beatles: Hey Jude;Taxman; David Bowie:Memoryof a freefestival;EricClapton:Don't know why; Elvis Costello:You belong to me; CreedenceClearwaterRevival: Fortunateson; Deacon Blue: Queen of the new year; Deep Purple:Flightof the rat; DefLeppard:Don't shoot shotgun; Donovan:Hurdy GurdyMan; Ian Dury: Blockheads; FleetwoodMac: Don't stop; Four Tops: If I were a carpenter;Free: All rightnow; Led Zeppelin:Gallows pole; Hots on fornowhere; 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 throughyour wires; UriahHeep: All my life;Circle of hands; The wizard; SheilaWalsh:We're all one; Who:Can't explain; Magic bus; Winter:Ain't thata kindness Johnny CAb. D: I-VII-IV BarclayJamesHarvest:Paper wings; Big Country:The storm;Kate Bush:Feel it; EricClapton:Catch me ifyou can CAc. A: I-VII-IVDavid Bowie:Ashes to ashes; PhilColllins:Anotherday in paradise; UriahHeep:Travellerin time CB. A: I'-VII-IV'-VI-IIIRoxyMusic: Angel eyes CCa. G: I-VII-IV-VRoxyMusic: If thereis something;Theymightbegiants:Twisting Winter:On the limb CCb. G: I-VII-IV-V'Johnny CCc. D: I-VII-IV-V'Level42: Coup d'etat CDa. D: I-VII-IV-IIIKateBush:Oh to be in love CDb. A: I-VII-IV-IIIBronskiBeat:Smalltownboy CDc. D: I'-VII-IV-IIIChrisRea: Looking fora rainbow CEa. C: I-VII-IV-IIDavid Bowie:Look back in anger CEb. E: I-VII'-IV'-II Toyah:Ieya CF. G: I-VII-II-IBand:Chest fever DA. C: II-IV-I-VBand:Wheels on fire EAa. G: III-VII-IV-IBe-BopDeluxe:Fair exchange; Led Zeppelin:Over the hills & far away EAb. D: III-VII-IV-IElvis Costello: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 Revival:Up around the FAa. C: IV-I-V Bon Jovi:Living in sin; CreedenceClearwater bend; DefLeppard:Animal FAb. G: IV-I-V Toto:Manuela run FB. C: IV-I-V-II'RoxyMusic: Stillfallsthe rain GAa. C: V-II-IV-IPeterGabriel:Wallflower;Led Zeppelin:Celebrationday GAb. C: V-II'-IVx-I Band:To kingdomcome


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HA. A: VI-III-VII-I'(DBI) Family:In my own time HB. A: VI-III-VII-IV'-I'JimiHendrix:Hey Joe;Siouxsie& Banshees:Love in a void HC. C: VI-IV-I-VGaryMoore:Kidnapped IAa. G: VI-VII-IV-IJohnny Winter:Look up IAb. D: VI-VII-IV-ILed Zeppelin:For your life JA.A: VII-IV'-I-V' Deep Purple:Fireball JB. G: VII-IV-I (HCAa) All AboutEve: Road to your soul; BonJovi:99 in the shade; KateBush:The man withthe child in his eyes; EricClapton:Black rose; Derek& Dominos:Anyday;BobDylan:I believe in you; FairportConvention: Reynardine; Peter Hammill:Vision; JethroTull: Pig-me & the whore; Billy Joel:I go to extremes;Meters:Ease back; Police:Next to you; SimpleMinds: Belfastchild; TalkingHeads: Thank you forsending me an angel; U2: In God's country;Van Halen: Hang 'em high; Vapors:Trains;Johnny Winter:Ain't thata kindness G: VII-IV-VII-I JC. R.E.O. Speedwagon:Open up Class I: Flatwisecyclicsequences AA. G: I-I"-IV-VIIPaul McCartney:Motor of love AB. A: I-VI-VII-III-VI-II-V GentleGiant:It's only goodbye AC. G: I-VI'-II-VII-V'BeachBoys:I get around ADa. C: I-VI-II-V(DBAa&GAEf) Abba:Fernando; Winnertakes all; BeautifulSouth: Love is ...; Fourmost: Hello littlegirl;Gerry& Pacemakers: How do you do it?; Houston:Saving all my love foryou; Madness:The blue-skinnedbeast; Whitney KylieMinogue:It's no secret;Nilsson:Withoutyou; ProcolHarum:Your own America choice; Simon& Garfunkel: ADb. C: I-VI'-II-VDavid Bowie:Lifeon Mars; Whitney Houston:You're stillmy man; Paul McCartney:You want her too; Move:Firebrigade; Simon& Garfunkel: Baby driver ADc. F: I-VI'-II-VBoomtown Rats:She's so modern AEa. F: I-VI-II-V-IBeatles:Good day sunshine; Mary Wells:My guy AEb. C: I-VI'-II-V-IEdwinStarr:Stop her on sight;StevieWonder:For once in my life BAa. G: I-IV-VIIElvisCostello:Waitingforthe end of the world; DefLeppard:Love & affection;Kinks:Lola; PlasticOno Band: Happy Christmaswar is over; Procol Harum: Nothing but the truth;She wandered through the garden fence; SimpleMinds:When spiritsrise; UriahHeep: Poet's justice BAb. D: I-IV-VII ThinLizzy:Don't believe a word BAc. A: I-IV-VIIToto:Takin' itback BAd. G: I-IV-VIIx-IDerek& Dominos:Layla BAe. A: I'-IV-VII StevieWonder:I was made to love her BBa. A: I-IV-VII-I-VGeorgeHarrison:When you gonna wake up BBb. G: I-IV-VII-I-V-IVMission:Bridgesburning 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's reallysuper, supergirl BCc. D: I-IV-VII-V'ProcolHarum:Conquistador BDa. G: I-IV-VII-IVSolomonBurke:Everybodyneeds somebody to love; Fleetwood Mac: Gold dust woman; Icicle Works:Don't let it rain on my parade; Queen: Crazy littlethingcalled love; U2: One treehill BDb. G: I-V--VII-IV--V Curiosity KilledtheCat: 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-VIKylieMinogue:Turnitintolove; ProcolHarum:The devil came fromKansas; Simon& Garfunkel: Mrs Robinson BEe. A: I-IV'-VII-III-VIElvisCostello:Accidentswill happen BEf. A: I'-IV'-VII-III-VIHue & Cry:Labour of love BEg. E: I-IV'-VII-III-VI--IIUriahHeep: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; Icicle Works:Up here in the northof England; Simon& Garfunkel: Only living boy in New York; TransvisionVamp: Landslide of love; Bonnie Tyler:Lost in France; Neil Young:Till the morningcomes BFb. C: I-IV-II'-V Beatles:Things we said today; David Bowie:Changes; Move: Walk upon the water ProcolHarum:Homburg BG. C: I-IV-II-V-III-VI-IV-I CA. F: I--III'-VI'-III'-II-V Motorhead:Tear ya down CB. C: I-III-VI-II-VQueen:Don't stop me now CCa. C: I-III-II-V(EAIa) Abba:Super trouper;Beatles:I'm happy just to dance with I like you; BeautifulSouth:Oh Blackpool; CuffLinks:Tracy;Gerry& Pacemakers: a know Move: Do want to Kramer: secret?; it; BillyJ. Curly you CCb. C: I-III-II-V-IMary Wells:My guy DAa. F: I-II-VKinks:You reallygot me; Move: Flowers in the rain DAb. C: I-II-VBeachBoys:Don't worrybaby; I can hear music; David Bowie:Bewlay brothers;ElvisCostello:Senior service; Who:Substitute DAc. G: I-II-V Souxsie& Banshees:Spellbound DBa. F: I-II-V-IBeachBoys:Heroes & villains;Beatles:I want to tellyou DBb. C: I-II-V-IAdam& Ants:Ant music; BeachBoys:You're so good to me; Beatles: Tell me why; David Bowie:Sound and vision; JanisIan: At seventeen; Plastic Ono Band:Happy Christmaswar is over DBc. A: I-II'-V'-I Abba:Money money money; ProcolHarum:Pandora's box DBd. B: I--II-V-I- David Bowie:Bewlay brothers EA. C: I-IM-II-VEdwinStarr:Stop her on sight KateBush:The morningfog;ProcolHarum:Pilgrim'sprogress FA. C: V-V7-I-II7 FB. C: VI-II-V-I Def Leppard:Love bites; Procol Harum: Magdalene my regal zonophone GA. C: V-III'-VI-II'-IV-II-IAbba:Dancing queen GB. C: V-I-IVIcicleWorks:Evangeline; Level42: It's not the same forus GC. C: V-I-IV-VDefLeppard:Gods of war HA. G: IV-VII-IByrds:I'll feela whole lot better;EricClapton:Mainline Florida Paul McCartney:Figureof eight;KylieMinogue:I should be HB. C: IV-V-III-VI-II-V-I so lucky HC. D: IV-V'-I HappyMondays:Bringa friend HD. C: IV-II-V-IKate Bush: WutheringHeights; JudyClay & WilliamBell: Private number;DefLeppard:Love bites; Derek& Dominos:Layla; KylieMinogue:Got to be certain;ProcolHarum:The finalthrust HE. C: IV-II-III-VI-II-V-IPetula Clark: My love is brighterthan the brightest sunshine HF. C: IV-I-II'-V-IBonzoDog Band:Canyons of your mind IA. C: III-VI-IV-V-ISupremes:The happening


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IB. C: III-VI-II-VMarthaReeves:I'm ready forlove ICa. C: III-VI-II-V-IBeatles:Can't buy me love; BigCountry: Eiledon; PhilCollins:You can't hurrylove; Elvis Costello:Living in paradise; KylieMinogue:I miss you; I'll stillbe loving you ICb. C: III'-VI-II-V-IStevieWonder:Too high ICc. F: III'-VI-II-V-IJam:David Watts IE. G: III'-VI'-II'-V-VII-IBryanFerry:The 'in' crowd IF. E: III'-VI'-II'-V'-I' Supremes:The happening JA.C: II-VI-IV-V-IBeatles:And I love her Burnette: You're sixteen JBa.F: II-V-IDavid Bowie:Red sails; Johnny JBb. C: II-V-I Abba: Super trouper; AlbertHammond:It never rains in Southern California;Beatles:Witha littlehelp frommyfriends;Jam:BillyHunt; Down in the tube stationat midnight;Santana:All the love of the universe JC. C: II'-V-I-IVAll AboutEve: More than the blues Mac: You and JDa. C: II-V-I-VIA-Ha: Take on me; Beatles:Lady Madonna; Fleetwood I, part II; GeorgeHarrison:My sweet lord; Paul McCartney:This one; Stevie Wonder:A place in the sun C: JDb. II-V-I-VI'BeachBoys:Darlin' JE. G: II-V'-I-VII=ProcolHarum:Conquistador There mustbe an angel JF.D: II-V'-VI--IV-V'-III-I'Eurythmics: PA. G: I-III'-VI-Ix-IV-VI'-II-IVx-VII (EBDb) ElvisCostello:Partygirl PB. A: I-III-VII-IV'-VI-III-VWishbone Ash:Throw down the sword PC. A: I-V'-VII--IV'-IV--VII-V'-bV'Madness:PrimroseHill Class J:Non-tonicelaboration/tonic preparation AA. A: VII-VI-V' KingCrimson:Court of the crimsonking BA. G: VI-VII U2: Wire BB. A: VI-VII-V' Siouxsie& Banshees:Mirage BCa. C: VI-V Vapors:LetterfromHiro BCb. H: VI-V Vapors:Somehow BDa. C: VI-V-IV-VSupremes:Stop in the name of love BDb. C: VI-V-IV(B) Big Country:Heart & soul; David Bowie:Star;Johnny Winter:Am I here? BDc. A: VIx-Vx-IVx-Vx Madness:Madness is all in the mind BE. C: VI-IV Be-BopDeluxe:Sleep thatburns BF. C: VI-IV-VBigCountry:Girlwithgreyeyes; Porrohman;Fleetwood Mac: Go your own way BG. A: VI-IV-III-VIIPhil Collins:The roofis leaking BH. A: VI-III-VIIDefLeppard:Armageddon it BI. C: VI-III-VII-IVKateBush:James& the cold gun The boxer BJ.C: VI-III-VI-VSimon& Garfunkel: CA. C: V-IV Eric Burdon:It's my life; Deacon Blue: Your constant heart; Aretha Franklin:Respect; Frederick Knight:I've been lonely forso long; Led Zeppelin: Royal Orleans CB. C: V-IV-II-VBig Country:Where the rose is sown CCa. C: V-VI-IV-V CockneyRebel: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-#IVO-V-IxPaul McCartney:That day is done CE. C: IV-VI-II' David Bowie:Moonage daydream DAa. C: IV-V Boomtown Rats:Don't believe what you read; David Bowie:Hang on to Eric Burdon: yourself; Spill the wine; Byrds:So you want to be a rock'n'rollstar; Elvis Costello:Two littleHitlers; Five Star: Rain or shine; King Crimson:Two hands; Led Zeppelin:The ocean; Over the hills and faraway DAb. H: IV-V GentleGiant:Proclamation DC. A: IV-III-VII-VIPeterGabriel:Lay yourhands on me DDa. C: IV-III-II-VNeil Young:Only love can breakyour heart DDb. E: IV'-III-II-bI'-VStevieWonder:Visions EA. C: III-VI-IV-VBeautifulSouth:Song forwhoever EB. A: III-IV'-VI-VKinks:Till the end of the day EC. A: III-VI Kinks:Dead End Street ElectricLightOrchestra: Wild west hero ED. F: III'-VI-V-I-Ix-II-V FAa. F: II-V David Bowie:Hang on to yourself;CreedenceClearwaterRevival:Hey tonight FAb. C: II-V Elvis Costello:Littletriggers;Four Tops:Reach out; JohnLennon:No. 9 dream; SimplyRed: Holding back the years; Supertramp: Bloody well right Class K: Twelve-bar blues(oftenwitheight-bar bridgemovingto VI) One chord per bar: bracketsincorporateintra-barchanges AA. A: I-I-I-I-III--III-II--I-I-V-VII-I-I JimiHendrix:Littlemiss lover ChuckBerry:JohnnyB. Goode; Bon Jovi:Bad mediABa. C: I-I-I-I-IV-IV-I-I-V-V-I-I At the hop; BillHaley: cine; EricClapton:I can't hold out; Danny& theJuniors: Rock around the clock; BuddyHolly:Oh boy; LouisJordan:Choo choo ch'booLee Lewis:Whole lottashakin' goin' on gie; Jerry BookerT & MGs: Green onions; Z.Z. Top: Blue jean ABb. A: I-I-I-I-IV-IV-I-I-V-V-I-I blues Revival:Travelin'band ABc. C: I-I-I-I-IV-IV-I-I-V-IV-V-I Creedence Clearwater BeachBoys:Littledeuce coupe ABd. C: I-I-I-I-IV-IV-I-I-(V-II)-V-I-I ABe. ABa irreg. extensions Elvis Costello:Waiting forthe end of the world; Jimi Hendrix:She's so fine Z. Z. Top: Backdoorlove affair ABf. D: I-IV-I-I-I-IV-I-I-V-V-I-I StatusQuo: In my chair ACa. G: I-I-I-I-IV-IV-I-I-V'-(VII-IV)-I-I 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 Elvis Costello:Blame it on Cain AEa. C: I-I-I-I-IV-IV-I-I-V-V-V-I AEb. C: I-I-I-I-IV-IV-I-I-V-V-V-V Cream:Sunshine of yourlove Beck:Let me love you; BeachBoys:Barbara-Ann;Jeff AFa. C: I-I-I-I-IV-IV-I-I-V-IV-I-I You shook me; CannedHeat:Togetherwe stand; EricClapton:Blow wind blow; Birddog; Madness:Solid gone; Merseybeats: Sorrow;SteveMiller EverlyBrothers: band:Mercuryblues; Nazareth:Bad bad boy; R.E.O. Speedwagon: Movin'; Little In the summertime; Richard:Good golly Miss Molly; Tuttifrutti;MungoJerry: GeneVincent:Be-bop-a-lula;JackieWilson:Reet petite;Z.Z. Top:Tush; Waitin' forthe 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 Beatles:You can't do that; SwingingBlue Jeans: AFc. C: I-I-I-I-IV-IV-I-I-V-IV-I-V shake Hippy hippy


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AFd. C: I-I-I-I-IV-IV-I-I-V-V-IV-I Winter:Look up Johnny 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 forone UriahHeep:Lucy blues AFg. C: I-IV-(I-IV)-I-IV-IV-(I-IV)-I-V-IV-(I-IV)-(I-V) AFh. Afa irreg.extensionsLed Zeppelin:Hats offto (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't buy me love BC. C: I-I-I-I-IV-IV-I-I-IV-IV-V-V Fats Domino:Ain't thata shame BDa. C: I-I-I-I-IV-IV-I-I-IV-I-V-I Otis Show:Willieand the hand jive Johnny 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' JohnnyWinter: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:Tuttifrutti DB. C: I-I-I-I-IV-IV-I-I-I-(II'-V)-I-I Z.Z. Top:JesusleftChicago 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) JimiHendrix:If six was nine Meters:Live wire JA. G: I-I-I-I-VII-VII-I-I-V'-IV-I-I 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) Derek& Dominos:Have you ever loved a woman NAd. A: I-IV-I-I-IV-IV-I-I-V-(VI-IV)-(I-III)-(II'-bII') Led Zeppelin:Since I've been lovin' you OA. D: I-VII-I-I-I-VII-I-I-III-IV-I-I Z.Z. Top:Justgot paid PA. C: IV-IV-I-I-IV-IV-I-I-V-IV-I-I Beck:I ain't superstitious;Motorhead:Limb Jeff fromlimb;Nazareth:Bad bad boy Class L: Eight/sixteen barblues AAa. C: I-I-I-I-V-IV-I-I EricClapton:Bottleof red wine AAb. D: I-I-I-I-V'-IV-I-ICream:Born under 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:Ballad of John& Yoko ACb. C: I-I-I-I-IV-I-(V-IV)-I ElvisCostello:Mysterydance 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-I Creedence Clearwater Revival:Susie Q AE. A: I'-I'-I'-I'-IV'-V'-I'-III DesmondDekker:Israelite AF. C: I-I-I-IV-IV-I-V-I NormanGreenbaum: Spiritin the sky & theHurricanes:Red riverrock AGa. C: I-I-I-V-I-IV-(I-V)-I Johnny AGb. C: I-I-I-V-IV-IV-(I-V)-I Beatles:I'll cryinstead 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 Derek& Dominos:It's too late


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BBb. C: I-I-IV-IV-I-V-I-I Cream:Sittingon top of the world Lee Lewis:Greatballs of fire BC. C: I-I-IV-IV-V-IV-I-I Jerry BD. C: I-I-IVx-V-I-I-IVx-V (GAHa) BeachBoys:Californiagirls ThinLizzy:Chinatown CA. A: I-I-V-I-IV-I-V-(IV-VI)-I ElectricLightOrchestra: CB. C: I-I-V-V-IV-V-I-I Birminghamblues EricClapton:Somethingspecial DA. C: I-IV-I-IV-(I-VI)-(II-V)-I-I DB. C: I-IV-I-IV-I-V-II'-II'RoxyMusic: Greylagoons DC. C: I-IV-I-V-I-IV-V-IBeachBoys:Fun fun fun; JimReeves:I love you because; RollingStones:Honky Tonk Women; T. Rex: Ride a white swan DD. C: I-IV-IV-I-I-II'-V-IEricClapton:Blues power Derek& Dominos:Key to the highway EA. C: I-V-IVx-IVx-I-V-I-V Under the boardwalk Beatles:Hey Jude;Drifters: EB. C: I-V-V-I-IV-I-V-I FA. C: I-VII'-I-VI'-II'-V-I-(II-V)LeonRedbone:Relax HA. C: IV-I-V-I-IV-I-V-I Ray Charles:I can't stop lovingyou; Fats Domino:Blueberry Bird dog; RoxyMusic: Would you believe? Hill; EverlyBrothers: IA. C: IV-IV-I-I-IV-IV-I-(V-I) BuddyHolly:That'llbe the day LouisJordan: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 littlesixteen LAa. C: V-I-V-I-IV-I-V-I Kinks:Dedicated followerof 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 ChrisMontez: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 EricClapton:Floatingbridge RC. C: (I-V)-I-IV-I-I-IV-(I-V)-I Class M: Returning modulations AA. G: IC-VIIC Band: We can talk; Beatles:Good day sunshine; Madness:Victoria Gardens; GaryMoore:Teenage idol; Who:I'm free AB. C: IA-VIIA-IICDerek& Dominos:Layla BAa. C: IC-VIC Derek& 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-VIA Duran Duran: Save a prayer;Nik Kershaw:Roses; Madness:Turning blue BC. A: IC-VIC David Bowie:Golden years; GentleGiant:Cogs in cogs; Led Zeppelin: Celebrationday; TheLook:The beat; SpandauBallet:True; Supremes:You keep me hanging on; WeddingPresent:Something& nothing CA. C: IC-VC Queen:Killerqueen CB. C: VG-IC Derek& Dominos:Anyday CC. A: IA-VA-IVAGaryMoore:Run to your mama DA. F: IC-IVA Madness:The blue-skinnedbeast Under the boardwalk; PeterGabriel:Wallflower;LoveAffair: DBa. C: IC-IVC Drifters: Everlastinglove; Who:I can see formiles DBb. C: IVC-IC Beatles:I am the walrus DBc. C: IA-WA Abba:Summernightcity;BonJovi:Wild is the wind DC. A: IA-VIA Big Country:Girlwith greyeyes DD. A: IA-IVA-VICMadness:One betterday DE. C: IC-VIA-VIIA-VIAA ProcolHarum:Nothingbut the truth


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DF. A: IA-VIA-VIIA-VA-IAAliceCooper:Poison EAa. C: IC-IIIC FourTops:Reach out; PinkFloyd:Free four EAb. C: IA-IIIA Level42: Lying still EAc. A: IC-IIIC EricClapton:Easy now; PetulaClark:Don't sleep in the subway; Jam: Man in the cornershop; Kinks:Days; Simon& Garfunkel: Mrs Robinson; Who: Pinball wizard EAd. C: IIIC-IC Phil Collins:Behind the lines; Hand in hand EAe. A: IA-IIIC BarclayJamesHarvest:Summer soldier; FleetwoodMac: You make collector;Madness:Not home loving fun; GentleGiant:Take me; Jam:Butterfly in Moore: Rest Far far Slade: today; Gary away peace; EAe. A: IA-IIIA BonJovi:Born to be my baby FAa. C: IC-IIA David Bowie:Ziggy Stardust FAb. F: IC-IIC BeachBoys:Don't worrybaby; Fine YoungCannibals:Don't look back; What GaryMoore:Really gonna rock; RoxyMusic: Dance away; Jimmy Ruffin: becomes of the brokenhearted?;Supertramp: the T'Pau: Asylum; Only lonely FAc. A: IA-IIAJethro Tull: Something'son the move; SimpleMinds:Theme forgreat cities FB. C: IA-bIIA-IIA-VIIAMadness:Tiptoes GAa. C: IC-IA Beatles:Here there& everywhere GAb. C: IA-IC Derek& Dominos:Why does love got to be so sad HA. A: IIC-IIIC-IC Beatles:Lucy in the skywith diamonds Class N: Progressive modulations AA. C: IC-IIC Afterthefire:Laser love; Bon Jovi:I'll be there foryou; David Bowie: Soul love; Johnny 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-IIA StevieWonder:Golden lady ABb. E: IC-IIC BeachBoys:I get around; Dave ClarkFive:Glad all over; EmersonLake & Powell:Learning how to fly;Fourmost:Hello littlegirl;Freddie& Dreamers: I'm tellingyou; IsleyBrothers: I guess I'll always love you; Jam:English rose; Nik Kershaw:Wild horses; LoveAffair: Wake me I am dreaming;Supremes:The Stevie Wonder: For in once happening; my life ABc. E: ID-IID NikKershaw:The riddle AC. A: IC-IIC-IIIC-IVCWho:My generation BA. C: IC-IIIC Diana Ross:Ain't no mountainhigh enough BB. A: IC-IIIC Doors:Hello I love you BC. D: IA-IIIA-VA-VIASiouxsie& Banshees:Playgroundtwist CA. C: IC-IVC EricClapton:Give me strength;Eagles:Alreadygone CB. C: IA-IVA GentleGiant:It's only goodbye DA. C: IE-VE StevieWonder:Jesuschildrenof America EA. A: IC-VIC BeachBoys:Wouldn't it be nice EB. F: IC-VIC-IVCJethro Tull: Son EC. A: IC-VIC-IVC-VCGenesis:Afterglow FA. C: IC-VIIC-bICFiveStar:Rain or shine IA. C: IVC-IC-IIC Dexy'sMidnightRunners:Come on Eileen JA.C: VC-IC-IVC-IC-IICQueen:Bohemian rhapsody


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Class O: Wandering/chromatic modality Beatles: Penny Lane; Be-BopDeluxe: Blazing apostles; David Bowie:Life on Mars; NenehCherry:Manchild; Doors:Touch me; EmersonLake& 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; Jam:Going underground;Nik Kershaw:City of angels; Easy; Know how; You might;Madness: Keep moving; March of the gherkins; Samantha; Sunday morning; Waltz into mischief; OrchestralManoeuvres:If you leave; Procol Harum: Salty Dog; Queen: Dreamer; XTC: Anothersatellite; Bicyclerace; RoxyMusic: Manifesto;Supertramp: Season cycle


Patterns in Harmony

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