Patterns of Harmony Author(s): Allan Moore Source: Popular Music, Vol. 11, No. 1 (Jan., 1992), pp.

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PopularMusic (1992) Volume 11/1

Patterns

of

harmony

ALLAN MOORE

Introduction Thereare two seeminglyself-evident truthsconcerning harmonic the practices of popularmusic. The first, which finds clearexpressionin Adorno,is that such music'sharmonic languageis both detrimentally limitedand static.Theharmonic repertoire considered consistof a few formulae is to (Adornodealswith themin termsof standardisation: Middleton see 1990,p. 45ff.),by meansof whichsongwritersstringtogethertheir songs, uninfluenced the song's content.Forthe by expertlistener,therefore,popularmusic should be uninteresting: is only its it psycho-economic dimension whichmakesit worthyof study.Thistendsalsoto be the conclusionof established musicology,exceptthat thereit is felt such 'extramusical'speculation best left to the sociologist.The second truthis that the is differences betweenAfro-American-derived arematerial, styles sinceouridentities are so stronglyincorporated the styleswe use: in
We mark out the differencesbetween genres and styles partlyby referenceto contrastsin the way this stock of techniques and sounds is used. (Middleton1990, p. 88)

Sinceharmony not onlyat theforefront traditional is of analytical investigation, but alsoformsan important initialfocusforsongwriters, maywellbe assumedthatit it is therefore important an factorin enablingus to distinguish, example,'rock' for from'pop'from'soul'. However,the material realitybehindthese differences of style has rarelybeen subjectto systematic investigation. I havelong feltthatthesetwinbeliefsarethe resultof speculation rather than analytical insight,andthe datapresented herein the appendix intendedto shed is some light on the harmonic natureof such music. The data collectionexercise began as a pedagogical tool, aimed at enablingab initiostudentsto acquirethe beginningsof a sense of harmony. is presented It with this aimstillverymuchin mind, and it may therefore of use to some readers this journal.Needlessto be of say, the taskis barely underway. Asidefromenabling to respondto theseselfme evidenttruths,the practice categorising datahas raiseda number importof the of ant questions,consideration whichmightbe bypassedby thosenot particularly of musically literate. I have subjected wide varietyof rock/pop/soul harmonic a to analysisso far. Some songs may be ratherunfamiliar some readers,and the rangeperhaps to unbalanced. musicused here has been almostrandomly The chosen,but with a primaryconcernto evade the implicitconstruction a centralcanon. I have of decidedto make this work publicat this time both for its pedagogicvalue and becausethe rangeof data seems to be largeenoughto begin to supportconclusions, although exercise the clearly requires extending beforesuchconclusions can be considered properly definitive. 73

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Allan Moore

Reading the data The appendix lists a large number of harmonic patterns, categorised in order to enable similarities to be compared. It is for this reason that I have adopted a functionalharmony (roman numeral) system of presentation rather than a simple chord-name system, although by this I do not intend to suggest that the rules of classicalfunctionalharmony operate:indeed, it will become clearthat they cannot. The patterns should be largely self-explanatory:they relate only to portions of songs, sometimes verses, sometimes refrains, occasionally link and bridge passages, depending on the characteristics each individual song. (Manysongs thereof fore appear in two or even three places.) Although regularity of harmonic movement within a patternmay indeed act as a norm, this should not be assumed a przorz. The patterns are grouped in such a way as to enable ready identification. Class A covers patterns without a change of harmony: thus groups beginning Aare essentially modal melodies over a (tonic) drone, whether occurringduring an instrumentalsolo, a verse or a refrain;groups beginning B- identify the same over clear descending bass lines; groups beginning C- cover alternationsbetween two forms of tonic. Classes B to G are essentially concerned with the distance of the initial move away from the pattern'stonic. In addition, classes B and C include stepwise moves from a pattern'sinitialharmony where this is not the tonic, classes D and E include patterns where mediant-tonic (III-I)or submediant-tonic (VI-I) combinations predominate, and classes F and G include unusual patterns where dominant-tonic(V-I)or subdominant-tonic(IV-I)combinationslikewise predominate. Within each of these classes, patterns are ordered successively on the first harmony, then the second, and then subsequent harmonies within the pattern. Classes B and D are ordered 'downward' (from I to VII to VI etc.) while classes C and E are ordered 'upward'. Classes H and I concern the identity of the whole progression, and here I have included those common departures from a precise fifth-cyclicordering. Again, class H is ordered 'upward' and class I 'downward'. Although some of these patterns may not initially appear cyclic, closer inspection will reveal that each incorporatesat least three stages of a cyclic progression, with occasional non-cyclic chords admitted where they are subservient to the pattern's cyclic identity. Classes M and N relate to changes of mode: class M covers cyclical changes (those occurringmore than once), class N linearones. In both, patternsare ordered in an 'upward' direction. Within each class, patterns have been identified at the left hand side of each entry by means of a two- or three-letteralphabetic code. This is to enable crossreferencing, to which I shall returnin a moment. The general rationalebehind the code can be explored with reference to class F (dominant sequences). Groups beginning A- all have patterns which start I-V-. Groups beginning B- all have patterns starting II-, those beginning D- all start IV-, etc. Within this, groups beginning AA- consist solely of I-V, those beginning AB- have patterns startingIV-I-, those beginning ABC- have patterns starting I-V-II-,those beginning ABDstart I-V-III-, and so on, in a fairlylogical manner. Where it is necessary to further differentiate patterns, and especially where the same pattern appears within a differentmode (see e.g. all groups AA- here), I have appended lower case letters. Therefore, each pattern is uniquely identified. For example, the common Aeolian pattern I-VI-VII be referred to as CDAa. The initial 'C' refers to the can

Patterns of harmony

75

class 'stepwise ascending harmony', while 'DAa' referencesthe patternwithin that class. The code CIAbwhich appears in bracketsis a cross-referenceto the Aeolian which it strongly resembles. Patternshave not been exhaustively pattern VI-VII-I, I cross-referenced: have concentratedon those I have found of most practicalvalue. in Classes have been derived pragmatically order to include all the patterns I have identified so far - of course, each class will expand as the amount of data grows. Classes M and N, which concern modulations, requirea little more explanation, in that roman numerals refernot to harmonies founded on a particularscaledegree, but to an entire mode founded on that scale-degree. Thus, group MAA indicates a modulation downwards of one tone (Mixolydiandegree I to degree VII) between two Ionianmodes. GroupMDD is more complex:it indicatesa downward modulation of a major third (Aeolian degree I to degree VI) between two Aeolian modes, the latter mode then becoming Ionian. These classes do not attempt to specify chord sequences. For present purposes, inversions have been omitted. (So, for instance, the notable patternI root - I first inversion - IV root - V root appearssimply as I-IV-V.) This is for three reasons. Firstly, to include inversions here would make the data too complex to handle. Secondly, there are few cases where the texturalbass is neither a harmonicpitch, nor a passing-note, both of which are necessarilyignored from the point of view of classifying the basic pattern. Thirdly, one of the prime functions of inversions is to introduce variety:two of Paul McCartney'sbass lines . from Sgt. Pepper . . will illustrate. On 'A LittleHelp FromMy Friends', he attacks the verse's F# minor (third chord in each half of the verse) in a variety of different ways, including effectively changing inversions, without disturbingthe harmony's identity. On 'Fixing a Hole', he alternates tonic and dominant pitches beneath a sequence essentially alternatingtonic and subdominantharmonies, but the repetitive nature of his line dislocatesit fromthe harpsichord'sharmonicsequence, again without disturbingthe pattern'sidentity at the centre of the song. A similarcase is that of Abba's 'Name of the Game', classified in group GAJ (Ionian I-IV-V-IV), where the bass part suggests that the last chord be read as Vll. In these and other similarlyambiguous cases, the harmoniclayer in the centre of the texturehas been deemed to have greaterinfluence over the identificationof the harmony than the, timbrallydistinct, bass. In this way, ignoring inversions can highlight the role of the bass, and can enable identical harmonic patterns to be found underpinning markedly different songs. By no means can inversions be considered irrelevant. Note must be made of the 'mode' system adopted for presentation.According to this system, instead of major and minor scales, each of seven modes disposes five tones and two semitones in a cyclicallychanging pattern, as follows: Lydian TTTSTTS Ionian (equivalent to 'major')TTSTTTS MixolydianTTSTTST Dorian TSTTTST Aeolian ('naturalminor') TSTTSTT Phrygian STTTSTT LocrianSTTSTTT Other writers have suggested that popular music makes use of modes (as reported in Middleton, pp. 198, 200), but have not suggested the thoroughgoingadoption of

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Allan Moore

a modal system. Note that I have added, for pragmaticreasons, a 'chromatic' mode (purely for class A) and a 'harmonic minor', i.e. Aeolian with semitonallysharpened seventh degree. In the appendix, the modes are represented by letters as follows: F: Lydian;C:Ionian;G:Mixolydian;D: Dorian;A: Aeolian; E:Phrygian; B: Locrian;H: harmonicminor;X: chromatic.I make no proposal that songwriters use such a system, although many rock guitarists,at least, are accustomed to think in this way, as a perusal of any guitarists' magazine will substantiate. Its most obvious analyticalbenefit is one of clarity:there is no confusion regarding such things as whether the chord on the (common) flat sixth degree should be assumed major or minor. In a conventional C major, both readings are defensible. The system I have adopted finds harmonies rigidly within the modes named: signs denoting chromaticmodal changes are applied specificallyand are defined below. Note that I have tended to assume all harmonies to be triadic,unless every repetition of the pattern includes an added note. The benefits of claritycan particularly be observed with those patterns conventionally considered either majoror minor, but with flattened seventh chord degree - they appear here as straightforwardly Mixolydian and Aeolian. Moreover, the identification of Phrygian and Lydian modes prevents the apparent obscurity associated with bII and #IV. There is nothing untoward in these functions. The signs I have adopted for tetrachords derive from jazz theory (see e.g. Mehegan 1959). Reading from a root C: augmented seventh (CEG#B) represenis ted by +; majorseventh (CEGB) M; minor seventh large (CEbGB) '; dominant by by seventh (CEGBb)by x; minor seventh (CEbGBb)by m; half-diminished seventh (CEbGbBb) 0;diminished seventh (CEbF#A) . Chords superscriptedby 4, 6 or by by 7 are strictmodal additions of these scale-degreesto triads;superscriptOfT refersto an added sharpened fourth. I have also used superscriptsto modify triad quality from that expected within the mode, as follows: majoris representedby '; minor by -; augmented by ";diminished by =. In relation to jazz theory, it should be noted that common jazz substitutions (such as bIIfor V) have not been found. Substitutions are found, however, the commonest being for triads whose root is a modal third distant (i.e. IIIfor V, or IV for II). Of course, substitutions as such can only be recognised where the basic pattern undergoes repetition. Any system of classificationhas deficiencies, for raw data is never as neat as theory must consider it in order to perceive correspondencies within it. Some patterns which are similar to the ear may appear in vastly different places within the appendix. To overcome this in some small way, some patterns are crossreferenced to other, very similar, patterns, the group number for these latter appearing in bracketsafter the former. Classification This work provides some basic grounds for the considerationof popular harmonic practice prior to the identification of stylistic difference along the rock/pop/soul continuum. The very job of offering a means of classificationfor these sequences is long overdue. Hitherto, all that has been available have been the occasional unsystematic lists offered in relation to other arguments - see for example Gary Burns'discussion of harmonicpatternsacting as hooks (Burns1987).The method I have adopted here seems most economical, but it also raises certainissues, which are not subject to objective determination:I offer this materialin the light of the

Patterns of harmony

77

growing acceptance of Nicholas Cook's suggestion that analyticaljudgements are of necessity interpretations,ratherthan assertions of fact (Cook 1989). In order to register, and almost by definition, a pattern has to be repeated. Note, therefore, that by no means all rock/pop/soulmusic uses harmonies to form repeated patterns:I shall deal elsewhere with those that do not. In many cases, I think immediate repetition is necessary, although some widely-used patterns, particularlythose associated with cyclic progressions, seem sufficiently strong to be noted even if they are not repeated within a single verse (refrain,bridge). Even then, this list does not pretend to be exhaustive with referenceto the songs chosen, but depends somewhat on the subjective response of an experienced and knowledgeable listener (myself). If criticism is to be levelled here, it must be on the grounds that the listing may be considered incomplete. Sheet music treats all chords as functionally equivalent, by specifying their names ratherthan their relationships.And yet, as ethnomusicologiststell us, there seems to be no musical system in which hierarchiesof importancedo not operate: even Arnold Schoenberg'sinfamous twelve-tone method admits of pitch hierarchies in practice (see Moore 1990, chap. 3). We need to rememberthat:
If there are importantsystems in the world that are complex without being hierarchic,they may to a considerableextent escape our obsewation and understanding. (Simon 1962, p. 477)

Therefore, sheet music nomenclature should not deafen us to the fact that hierarchicalrelationshipsexist, and these clearlymust be predicatedon the identification of a tonic. In classicaltonal theory, pitch-collection(i.e. the identificationof the major/minorscale in operation at any particularpoint) is the most commonly invoked criterion.But within a modal system, because the choice of tonic degree is arbitrary,such evidence is valueless. On what grounds can it then be decided that a particular harmonywithin a patternis acting as a local tonic?(Throughout,I have identified the tonic of a pattern,not necessarily that of the song, since many songs modulate between modes.) The criteriathat seem to operateare essentially those of metric, rhythmic and accentualmodes of stress as developed by JonathanKramer (1988). Simply put, a tonic is likely to persist longer than temporally adjacent chords, is likely to begin or end a pattern (particularly coinciding with structural divisions in the lyrics), and is likely to receive an attackmore emphasised (whether by simple accent, or by change of timbre or density) than that of its temporal neighbours. A difficultapplicationof this technique is well exemplified by Simple Minds' 'Soul Crying Out' (from StreetFightingYears).Two alternative readings seem possible, either an Ionian IV-VI-V(which initially appears as V-IV-VI),or a Mixolydian VII-II-I.The first reading is of a strong preparationfor a tonic, and would presumably find support among those with 'classical'ears. However, the I which it prepares occurs only ever in passing as part of the extended 'bridge' sequence, preceded by IV, and it is therefore not used as a point of arrival. Therefore,the second reading seems preferable. A second problem is caused by the frequent use of the double appoggiatura and neighbour-notes, and can best be explored by way of examples. At the simplest level, Abba's 'MamaMia'will stand for countless other cases (see Example1). The refrainuses an Ionian I-IVpattern.This is repeated twice for the firsthalf of the refrain, each chord lasting a nominal two bars. In the first two refrains, chord I presents no problem, but chord IV seems to begin inconclusively. Its structural

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arrival is on beat three of bar three, beat two containing a Mixolydian VII9, harmonisingthe main vocal pitch through the backingvocal, this chord then acting as a double appoggiaturato the third beat. The problem here is one of degree of importance.It seems extravagantto raise the status of a single-beatdouble appoggiaturato that of a chord:again, it is important to insist on the operation of levels of hierarchicstructure. More usefully, Abba's 'MamaMia' can be compared to FrederickKnight's 'I've been Lonely for so Long' (Example 2), which uses the same pattern and equivalent durations, but whose harmoniceffect is very different, partlybecause of the absence of an appoggiatura here. My suggestion is that even this pair of examples allows us to argue strongly against the notion that these harmonicpatternsare merely formulae.Thatis the least interesting aspect of them. Denial of this point would ultimately entail acceptance of the absurd notion that all common-practicetonal works were merely formulaic, because their backgroundsare formed by SchenkerianUrsatze. At the other extreme is the Plastic Ono Band's 'Happy Christmas War is progression, which it repeats a Over'. This makes use of the cyclic Ionian I-II-V-I further two times, at levels represented by the cyclic Mixolydian I-IV-VIIprogression. This seems such a striking example, that I have included it in the appendix under both categories. Here, it is clearlynot extravagantto consider the formersequence to consist of chords. This is, however, the only example I have yet encountered of patterns embedded to quite such a high degree, and it can serve to limit the level at which this question needs raising.
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Patterns of harmony

79

A third problem arises from the assumption that the functional unit throughout is the 'triad'. There are necessary limits to this assumption, which again can be best illustratedthrough examples. Cream's 'Sunshine of Your Love' represents the archetypalrock riff. It is used, however, to clearly outline a simple Dorian I-IV-I,forming the first eight bars of a twelve-barblues pattern. The chords here are implicit, but nonetheless present. Thin Lizzy's 'Killer on the Loose' presents more of a problem, since some degree of triadicinferenceis necessary. As Example3 shows, both guitar and bass outline a MixolydianI-VII-VI, the only but confirmation is provided by an upper guitar pitch which appears considerably softer (and weaker). It seems to me that a triadicinferenceis justifiedhere, but only just.
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Talking Heads' 'There must be a Place' (from Speaking in Tongues) presents a differentsort of problem, as outlined in Example4. Heard alone, the bass would be likely to be construed as an Aeolian VII-I-VI-I. Neither guitar part supports this, and I have categorisedit accordingto the middle guitar, which may be considered normative in register (hence, Ionian I-VI-IV-VI). The bass does not conflict with this, although the pattern now begins with a weak-sounding (second inversion) I. And yet, at the end of the track, the middle guitarbegins to read this I as a double appoggiatura, supporting the Aeolian VII-I-VI-I. Such ambiguity is only possible within a repetitive framework, and serves to strengthen the conclusion that such musics' harmonic frameworks are used in anything but a formulaic manner, so making them of pure musical interest, before consideration of any other
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Conclusions Withinany seven-note mode, there are only four ways to continue harmonically: to remain in place, to move by step, to move by the interval of a third, or by that of a fourth. Remainingin place for any length leads to drone-based music, a common backgroundin improvised rock, folk rock and acid soul. As class A shows, such lack of movement occurs not only beneath solos, but also throughout verses on many occasions, where such verses have a tendency toward pentatonic melodies. Four-stage stepwise patterns are not uncommon (all groups BBE-are variants of the 'flamenco' changes), but longer patterns tend to be more rare. Aside from stepwise alterations (i.e. I-IIor I-VII),stepwise moves tend then to continue with other intervals. Patterns extending a mediant (third-based)move are rare when moving upwards, but more common moving downwards: group DBA- incorporates variants on the common 'Stand by me' changes. Again, mediant moves are often mixed with other intervals, and also occur as alternations. Here, patterns

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Allan Moore

which alternatebetween two chords which cannot be found within the same mode (see groups DABd-DABg) tend to be particularlystriking. Of all pattern types, those beginning with fourths are most numerous. Here, alternationsabound, as do sequences beginning in this way and continuing with other intervals. However, patterns continuing furtherin cyclic fashion (i.e. around the cycle of fifths) are so numerous that I have classified them separately. Throughoutall these sequences, the differencebetween sharp-wise (up) and flat-wise (down) directions would seem to be fundamental. Middleton (1990, p. 200) notes that it can be argued that flat-wise moves (e.g. I-IV)traverse less 'distance' than their sharp-wise counterparts(e.g. I-V):in these particularexamples this is because the tonic pitch is present in both I and IV, but is absent from V, which perhaps gives this pitch a status it fails to acquirein practice.Nonetheless, it is surely true both that flat-wise moves in general (whatever the mode) carry connotations of less tension than equivalent sharp-wise moves, and that modes lacking a sharpened seventh degree can carrysimilar connotations. One importantissue which this study may ultimatelyfurtheris the status of a generative theory of rock/pop/soul harmony. Such theories have already been offered for both jazz (Steedman 1984;Perlmanand Greenblatt1981)and commonpracticetonality (Keiler1981;Lerdahland Jackendoff1983).Middletonhas recently rules (Steedpursued this matter, directly applying Steedman's transformational grammarsmay depend transformational man 1984), and suggesting that all such on the deepest principle, 'that of tonic/not-tonicdifferentiation'(Middleton 1990, p. 198). That may be so, and it would be valuable to try to apply it to the data gathered here. None the less, I feel that for rock at least, the rules of substitution would necessarily differ. It seems likely that rock sequences could be generated from fifth-cyclesby (recursive)substitution of modal mediant-relatedchords and elisions of consecutive cyclic steps. Three simple examples can show this derivafrom I-I-IVtion. The 'Standby me' changes (sub-groupDBA) generates I-VI-IV-V from I-VII-IVV through substitutionof VI for I. Sub-groupCBGgenerates I-II-IV-I I through substitution of II for VII. Less simply, sub-group DBI generates I-VI-IIIthrough the substitution of VI for I and the elision of VII-IV-I VIIfrom I-I-V-VII-IV to VII-I. This can also be pursued with relation to a more complex example: those patterns found in Def Leppard's 'Love Bites' (from Hysteria). Three patterns are and Aeolian I-VIfor employed: Ionian VI-II-Vll-I9 the verse, and Ionian I-IV-II-V for IV7-VII the refrain. These patterns undergo relative transposition, to yield the (repeated)-d-g(repeated)-C-Ab-F-Bbsequence: d-g-C-F-(repeated)-Eb-Ab-F-Bbetc. (where lower case representsminor triad).The first patternis simply cyclic, the second is cyclic startingfrom its midpoint, such that its naturebecomes clearas it is The patternsare of repeated, while the third is a transformation the cyclicV-V-I-IV. of reference(letting them to a single frame joined by elisions, such that transferring I = F) yields: -V-III-I-IV, -VII-III-I-IV VI-II-V-I derived from a cycle of fifths, i.e.: I-IV. VI-II-V-I(-IV)-VII-III-I-IV(-II)-Vthat such elisions may be most common where separate patIt may be surmised terns are conjoined. Of course, much furtherwork remains to be done in this area, although it would seem that the assumption of a fifth-cyclicbase may be more elegant than the simple tonic/not-tonicbinary choice, and also more responsive to

of Patterns harmony

81

interpretation.The data published in the appendix should enable any hierarchical such generative theory to be developed from a solid base. Any theory which took generative tonality as a model would seem immediately doomed to failure since music is formally strophic, and hence cyclic (we must return to the rock;/pop/soul same chord with which we begin each verse) whereas classical tonality by its nature supports linearity. Moreover, to follow Schenker (1979), classical tonality tends towards polyphony, whereas rock/pop/soultends to conceive its harmonies as indivisible units rarely subject to voice-leading principles. And yet, the fact that such a study as this has not appeared sooner might suggest that perception, and even conception, frequentlygoes no furtherthan the stringing together of a series of discrete harmonies, particularlyoft-used successions of which act as Adorno's formulae(Adorno 1941).Many songwritersseem to accept this formulaicmodel of harmonicpatterns. For instance, Matt Aitken, of the team Stock, Aitken and Waterman,said in a radio interview:
If we're stuck for an idea we'll very often toss some chord sequences round and say maybe, what about that chord sequence on a . . . Billy Joel number . . . some old chord sequence, some old chestnut . . . and use that, and develop a song from that, because its very nice sometimes to get a firm base to start from . . .

Paul McCartneyechoed this:

Johnand I . . . were quite happy to nick things off people, because . . . you startoff with the nicked piece and it gets into the song . . . and when you've put it all together . . . of course it does make something original.

Simon Bates introduced the programmefrom which these quotes were taken by telling his audience that:
It is not surprisingthat some songs sound familiar,as there are only twelve musical notes with which to write songs . . . That'sit, the sum total of the materialany song-writerhas to play with. (BBCRadio 1: 'Wherethere's a hit, there's a writ', 21 February1989)

Aside from the fact that this gives pitch priorityas the primarydomain, an assumption which is probablymisplaced with all primarilystudio genres, the errorof this belief lies in the concentrationon pitch entities ratherthan relationships.The initial results from my survey suggest two seemingly paradoxical,but vital conclusions. Contraryto received opinion, there is a great variety of harmonic patterns used along the rock/pop/soulcontinuum (with a range at least as wide as that found in the foregrounds of common-practicetonality, although there they are not subject to the same tendency to continual repetition). This is not a music of limited resources, where everything potentially sounds like everything else. And yet, there seems to be no unambiguous harmonicdifferentiationbetween these styles, for language and so there are cleargrounds for arguing that there is a singleharmonic rock/pop/soul which, in turn, may serve to differentiate this music from jazzderived popularmusics. This is not to deny stylisticdifferentiation,merely to argue that it is chiefly played out in other domains, particularlythose of rhythm, texture and productiontechniques. Indeed, BrunoNettl suggests that the widespread use of what he considers a simplified form of Western harmony contributesgreatly to the fears of those who decry the homogenisation of popularmusics, but he goes on to argue that other elements combine in the interculturalmix to maintain separate stylistic identities. (Nettl 1985, p. 85)

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

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

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Pour some Revival:Commotion; Def Leppard: Clearwater ABb. G: Verse Creedence Heads will roll; Led sugar on me; Doors:Roadhouse blues; EchoS Bunnymen: My Celebrationday; Nazareth: white bicycle; U2:Wine Zeppelin: Get The Love you too; Big Country: seer; EricClapton: ready; ABc. D: Verse Beatles: Gaye:Right on; Run through the jungle; Marvin Revival: Clearwater Creedence 42: Everybodyloves to play the fool; Level Coup d'etat;SteveMiller IcicleWorks: Minds:Carefulin career Money; Simple Out of the night; PinkFloyd: band: ABd. A: Verse Doors:L. A. woman; Not to touch the earth; EchoS Bunnymen: Mac:Green Manalishi;Oh well; JuicyLucy:Who do you Ripeness; Fleetwood No 21st century schizoid man; LedZeppelin: quarter;Steve love; KingCrimson: an eagle; RoxyMusic:The bogus man; SamS Dave:Soul Millerband:Fly like Funky chicken; Talking man; SimpleMinds:League of nations; RutusThomas: Girlfriendis better;Slipperypeople Heads: Take me to the river Heads: AC. G:RefrainTalking I Heads: get wild/wild gravity All AD. A: RefrainBeatles: you need is love; Talking All Well-respectedman; Santana: the love of the BA. C: 3 steps desc.(DABa)Kinks:
universe

Bat Sunny afternoon;MeatLoaf: For Beatles: no one; Kinks: BB. C:4 steps desc.(FAJa) Picturesof Lily All out of hell; Mott theHoople: the young dudes; W710: This town ain't big enough BC. G:4 steps desc. Sparks: Hello goodbye; BD. C: 5 steps desc. Abba:One of us; Band:The weight; Beatles: Seeds of love for MoodyBlues:Go now; Tears Fears: Mind games BE. C: 6 steps desc. IohnLennon: Whitershade of pale Harum: Oliver'sarmy;Procol BF. C:7 steps desc. ElvisCostello: Stairwayto heaven BG. X: 5 steps desc. LedZeppelin: Wots . . . uh the deal BH. X: 6 steps desc. PinkFloyd: 42: Level World machine CA. D: I7-I6 harmony descending ClassB: Stepwise Baby now that I've found you Foundations: AA. C: I-IX-IV-IV--I-II'-IV-V Standing in the shadows of love Four AB. A: I-Im-VI-V Tops: Topo AC. C: I-IX-VI-IV-II4-V D. Bil:Witchitai to Babylove Supremes: AD. C: I-IX-VI'-II After AE. A: I'-IX-#VI--VI-VII-III-V'-I thefire:Laserlove Fashion;Golden years; Scarymonsters; Tell I-VIIBangles: me; DavidBowie: BAa. G: Break Let Win;EricClapton: it rain;Lonesome & a long way fromhome; Doors: on through; Hello I love you; The Fall: Gut of the quantifier; Gerry S Tull:Old Ferrycross the Mersey;lam:All around the world;Jethro Pacemakers: Keep moving; GaryMoore: Achilles last stand; Madness: ghosts; LedZeppelin: Movin'; SiouxsieS Law of the jungle; Shapes of things; R.E.O. Speedwagon: Hong Kong garden; StoneRoses:She bangs the drums; Supertramp: Banshees: Dreamer; T'Pau:Taking time out; TalkingHeads:Burning down the house; Making flippy floppy; UriahHeep:Dreammare;Van Halen:Dancing in the My street; Where have all the good times gone?; W7zo: generation; Wishbone Uptight Ash:Blowin' free;Time was; StevieWonder: When I was Medicine man; EricBurdon: Harvest: James BAb. A: I-VII(CJAb)Barclay Higher hell; In young; DeaconBlue:One hundred things; EchoS Bunnymen: Mac: Isn't it midnight; lethro Tull: Flying dutchman; bluer skies; Fleetwood

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

blue sky BAc. E: I-VIIDoors:Not to touch the earth;EchoS Bunnymen:Porcupine;Pink Floyd: Hey you WeddingPresent: Getting nowhere fast BBa.G:I-:VII'-VII-VI' AutomaticMan: My pearl BBb.G:I-#VII-VII-IV JethroTull: Batteriesnot included BC. G:I-VII-III' Mission: Stay with me; Toyah:Birdin flight;Johnny Winter:Nothing BDa. G:I-VII-VI left All BDb. A: I-VII-VI About Eve: December;Tuesday's child; BarclayJames Harvest: Summersoldier;Big Country:East of Eden;Flameof Forno one; Mockingbird; the west; David Bowie:Ziggy Stardust;Blue Oyster Cult: Don't fear the reaper; Phil Collins: Another day in paradise;In the air tonight; Elvis Costello:I don't want to go to Chelsea;FleetwoodMac: Big love; Tango in the night; You make loving fun; Peter Gabriel: Down the dolce vita; Jimi Hendrix: All along the watchtower; Level 42: I sleep on my heart; Mission: Love me to death; Severina;Gary Moore:Hiroshima;Chris Rea: You must be evil; Slade:Shape of things to come; Thin Lizzy: Don't believe a word; Toto: Angela; Uriah Heep: Come away Melinda; WishboneAsh: Sometime world Isaac Hayes: Theme from 'Shaft' BDc. E:I-VII-VI BDd. A: I'-VII-VIBoomtownRats: The normal people; Madness: Samantha;Motorhead:Overkill;Supremes:You keep me hanging on BarclayJamesHarvest:After the day; Peter Gabriel:Games without BEa.A: I-VII-VI-V frontiers;Al Stewart:Broadwayhotel Four Tops:Bernadette;Ventures:Walk don't run BEb.A: I'-VII-VI-V' Pink Floyd: Matildamother; Uriah Heep: Circleof hands; Vapors: BEc. G: I-VII-VI-V' Waitingfor the weekend Animals: Don't let me be misunderstood; HerbAlpert:Jerusalem; BEd.A: I-VII-VI-V' Beatles:I'llbe back;David Bowie:Moonage daydream;Ray Charles:Hit the road Jack;Louis Jordan:Is you is or is you ain't my baby; Gary Moore: Hold on to love; Gene Pitney: Something's gotten hold of my heart;Roxy Music: If there is something; Del Shannon:Runaway;Status Quo:Gerdundula;Stone Roses:Made of stone; Supremes:Love child; Turtles:Happy together;Zager S Evans: In the year 2525 Jesus children of America Stevie Wonder: BEe. E: I-VII-VI-V' BEf. G:I-VII-VI-bVI'-V'Madness: VictoriaGardens Pinballwizard Who: BEg. A: I'-VII-VI-V' Fine BEh. C: I-VII--VI-V-IV-III-II-V Young Cannibals:As hard as it is Jam: BF. D: I-VII-VI--#VII Beat surrender Eagles:One of these nights; Mission: Deliverance BGa. A: I-VII-VI-IV OrchestralManoeurres:Dreaming BGb. G:I-VII-VI-IV-V' Derek S Dominos: Why does love got to be so sad BH. A: I-VII-VI-III-V' Moody Blues: Nights in white satin BI. E: I-VII'-VI-III-II-I BJa.G:I-VII-V'Elvis Costello:Moods for moderns; Roxy Music: Editions of you BJb.A: I-VII-V'Elvis Costello:I'm not angry Roxy Music: Chance meeting BJc.H: I-VII'-V Toyah:Triballook BKa.D: I-VII-bV'-VI' -VI BKb G:I-VII-V' ' David Bowie:Red sails .

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BakerStreet;RoxyMusic:Ladytron Rafferty: Gerry BLa.G: I-VII-V'-IV The Led BLb.G:I-VII-V'-IV-V'-I Zeppelin: ocean The Big BMa.A: I-VII-V-I Country: red fox Eleventh earl of Mar; Crazy city; Genesis: Harvest: James Barclay BMb. A: I-VII-V'-I The Hear me lord;Madness: blue-skinned beast Harrison: George John Farnham:You're the voice; Meters: (HCAa&GBKa) BNa. G: I-VII-IV-VII Chicken strut Under the gun SheilaWalsh: BNb. A: I-VII-IV-VII All BO. A: I-VII-IV-VI-V AboutEve:Only one reason Wholy holy Sunday's best; MarvinGaye: ElvisCostello: BPa. G:I-VII-IV-V Epitaph KingCrimson: BPb.A: I-VII-IV-V' Visions Toyah: BQa. D: I'-VII-IV-III Mission:Blood brother BQb. A: I-VII-IV'-III The Nik BR. D: I-VII-III-IV Kershaw: riddle Racethrough space Toyah: BSa. A: I'-VII-II--VI Ever fallen in love Fine BSb. E: I-VII'-II-VI-VII' YoungCannibals: Modern love Peter BT.A: I'-VII-I'-VI-IV'-VII Gabriel: I Peter CA. E: I-VI-III-IV-III-II Gabriel: don't remember Angie RollingStones: DA. A: I-V'-VII-VI-III (FAQ)BobDylan:Lay lady lay DB. G:I-V-VII-IV Walkaway Renee Four DC. G:I-V'-VII-II-IV--I Tops: All DD. C: I-V-VIA-Ha:Take on me; Beatles: you need is love PercySledge:When a man loves a woman; Van der Graaf DE. C: I-V-VI-V-IV-V-I Refugees Generator: Here comes the flood Peter DF. C: I-V-VI-V-III'-VI Gabriel: America Piano man; SimonS Garfunkel: Doc DG. C: I-V-VI-I-IV Browne: There's no action Elvis DH. C: I-V-VI-I-IV-II-V Costello: Goodbye to love Carpenters: EA. C: I-V-IX-IV-IV--I-IIx-V Boys:Californiagirls Beach FA. A: I'-II--VII-I-VI-VII--I Power to the people; Tina If GAa. C:II-IPhilCollins: leaving me is easy; JohnLennon: I Turner: don't wanna lose you Christine;Johnny S If GAb. E: II-IPhil Collins: leaving me is easy; Siouxsie Banshees: No Winter: time to live Hard lovin' man GB. D: II--I-V-IV-DeepPurple: XTC:The meeting place HA. D: III-II-I' Awaiting on you all Harrison: George IAa. C: IV-III-II-I Warningsign Heads: Talking IAb. C:IV-III'-IIt-I San PeterGabriel: Jacinto JA. C:IV-I-V-IV Another ticket Eric KA. C:VX-I-II-I Clapton: Sweet soul music; ThinLizzy: Chance;ArthurConley: Big LA. C: VI-V-IV-I Country: Dancing in the moonlight Dead End Street Kinks: LB. A: #VI--VI-I-VII Mr Byrds: Spaceman MA. C:V-IV-II-I Intersteller(sic) overdrive Pink MB. C:V-bV-IV-III'-bIII'-II'-I Floyd: Minds:Soul crying out Simple NA. G:VII-II-I Let's see action Hideinyour shell; Who: Supertramp: NB. G:VII-VI-I Spanish castle magic Jimi NC. A: VII-bVII'-VI-V'-I Hendrix:

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Class C: Stepwiseascending harmony

AA. C: I-IPeter Hammill: Sunshine AB. E: I-I/-Im-I6-II Wonder:Golden lady Stevie ACa. C:I-I"-VI-I" Crickets:Don't ever change ACb. C:I-I''-VI-IX-IV Bowie:Never let me down; LedZeppelin:The rain song David BAa. F: I-II FleetwoodMac: Dreams; Mission: Let sleeping dogs lie; Stevie Wonder: Don't you worry 'bout a thing BAb. C:I-IIDeacon Blue:Silhouette;Madness:In the rain;Wham:Wakeme up before you go-go BAc. D: I-IIStevie Wonder: Visions BAd. E: I-IIMadness: Are you coming; Shadow of fear;Pink Floyd: The trial; Talking Heads: I get wild/wild gravity BAe. A: I-IISpecials:Ghost town BAf. E: I'-IIJefferson Airplane:White rabbit BAg. B: I'-IIDavid Bowie:Yassassin BAh. F: I-II-II0 Beatles:I want to tell you BAi. G:I-II'-II-IV--V' ElectricLight Orchestra:Turn to stone BB. F: I-II-III' W71O: me feel me See BCa. E: I-II-III-II Morrison: Who was that masked man; Toyah:Victims of Van the riddle BCb. C:I-II-III-II-IV Beatles:I'm only sleeping BDa. C:I-II-III-IV Beatles:Here there & everywhere BDb. D: I-II-III-IV Deacon Blue: The world is lit by lightning BDc. F: I-II--III-IVStevie Wonder:Golden lady BDd. E: I'-II-III-IV' der GraafGenerator: Van Darkness BDe. C:I-II-III-IV-V Band:I shall be released BDf. C: I-II-III-V OrchestralManoeurres:Dreaming;Pink Floyd: In the flesh? BEa.C: I-II'-III'-VI-IV-V-I Brothers:Put yourself in my place Isley BEb.A: I-II-#III-VIIMotorhead:Metropolis ' ' BFa.C:I-II-IV Thin Lizzy: The boys are back in town BF7b. I-II'-IV A: Move: Blackberry Way BGa.C: I-II-IV-I Beatles: And your bird can sing; Genesis: Your own special way; GeorgeHarrison:All things must pass; Rod Stewart:Maggie May BGb.D: I-II-IV-I Santana:Just in time to see the sun BGc.C: I-II'-IV-I Beatles: Eight days a week; Eric Clapton: Another ticket; George Harrison:Isn't a pity; Let it down; Jam:Butterflycollector;English rose; Move: Brontosaurus; Pink Floyd:Braindamage;ProcolHarum:Homburg;Roxy Music: Beautyqueen; Vapors:Trains;Van der GraafGenerator: Whateverwould Robert have said? BGd. I-II'-IV--I C: Marvin Gaye S TammiTerrell:You'reall I need to get by BHa.C: I-II-IV-V Be-BopDeluxe: Ships in the night; David Bowie:Young Americans; Jam: Away from the numbers; Billy Joel: Leningrad;Maria McKee: Show me heaven; XTC: Sacrificial bonfire BHb. I-II'-IV-V C: TalkingHeads: The big country BHc.C: I-II'-IV-V-I Bonzo Dog Band: I'm the urban spaceman; Eric Burdon:Its my life; Eric Clapton: Lovin' you lovin' me; Eguals: Viva Bobby Joe; Roxy Music: Would you believe?; Vapors:Cold war BI. I'-II-IV'-VII'-bV'-VI Floyd:LuciferSam E: Pink

Patterns harmony of

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

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'in' crowd; Fleetwood Mac: Family Man; LedZeppelin: Hots on for nowhere; SteveMiller band:Shangri-La;NashvilleTeens:Tobacco Road; T'Pau:Taking time out JAb. A: VII-I(BBAb)Emerson Lake Palmer: S Touch & go; Fairport Convention: Matty Groves; PeterGabriel: Shock the monkey; Jethro Tull:WorkingJohn working Joe; King Crimson: 21st century schizoid man; LedZeppelin: Immigrantsong; GaryMoore: Nuclear attack;ChrisRea:You must be evil; RoxyMusic:For your pleasure JAc. C:VII'-I-JimiHendrix: One rainy wish JAd. G:VII--IMadness: New Delhi ClassD: Submediant sequences AAa. A: I-bI'-VI-RoxyMusic:Chance meeting AAb. C: I-M-VI George Harrison: Balladof Sir FrankieCrisp AAc. A: I'-IX-VI-V' Floyd: Pink Eclipse ABa. C: I-VI Boomtown Rats:Living in an island; Elvis Costello: Miracleman; You belong to me; DerekS Dominos:Why does love got to be so sad; George Harrison: Awaiting on you all; My sweet lord; BuddyHolly:Maybe baby;Jam: When you're young; John Lennon:Instant karma!;Little Eva: Locomotion; Melanie: Ring the living bell; SteveMillerband:Bongo bongo; Monkees: Goin' down; Searchers: Don't throw your love away; Paul Simon:Slip slidin' away; SmallFaces: Itchycoo Park;Theymightbegiants:Sapphirebullets of pure love; Vapors: TurningJapanese ABb. A: I-VI Beatles:Eleanor Rigby; Boomtown Rats: Can't stop; Like clockwork; Living in an island; Rat trap; Cure:Love cats; ThaFall:My new house; FleetwoodMac: Rhiannon; Led Zeppelin: Achilles last stand; Madness:You said; Marillion:Script for a jester's tear; Police:Message in a bottle; Truth hits everybody; ProcolHarum:Conquistador; Roxy Music: Strictly confidential; SiouxsieS Banshees: Arabian nights; Supertramp: Asylum; Crime of the century; U2:Exit;Vapors: Bunkers;Wishbone Warrior Ash: ABc. E: I-VI U2:Indian summer sky ABd.D: I-VIm Doors: Light my fire ABe. A: I-VIM OliviaNewton-John: Let's get physical;Procol Harum: Conquistador ABf. A: I-VI- KingCrimson: Heartbeat ABg. A: I'-VI DavidBowie:Suffragettecity; Family:In my own time; LedZeppelin: Candy store rock;Transvision Vamp: Down on you AC. G: I-VI-VII-V Absolute beginners;Level Something about you Jam: 42: ADa. C:I-VI-VII-IV Thompson Twins:Hold me now ADb. A: I-VI-VII-IV Police: Message in a bottle; Simple Minds:Take a step back AE. A: I-VI-VII-III Smiths: Still ill AF. C: I-VI-bVI-IV RoxyMusic:Ain't that so AGa. C: I-VI-VBig Country: ships go; ElvisCostello: Tall Hand in hand; Lip service; Foundations: Born to live & born to die; BuddyHolly:Maybe baby; Orchestral Manoeurres: in love; ThinLizzy:Wild one; Vapors: So Waitingfor the weekend AGb. A: I'-VIX-V' Joel:Stormfront Billy AGc. H: I-VI-VPeterGabriel: self control;PeterHammill: No Sunshine; George Harrison:Art of dying; Jam:Precious;Madness: Speaker gets the word; Chris Mr Rea:I just want to be with you; Toto: Takin'it back

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

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

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Heat:On the road again; BillyJoel: Beck's bolero; Canned Jeff AEd. D: I'-III-IV Beck: Bron-y-aurstomp; Candy store rock; Chris That's not her style; LedZeppelin: Steamy windows; JohnnyWinter: Rea:Your warm & tender love; TinaTurner: Rock& roll hoochie koo The weight Band: AFa. C:I-III-IV-I Nobody home You're sixteen; PinkFloyd: Burnette: Johnny AFb. C: I-III'-IV-I Come on Eileen Runners: Dexy'sMidnight AFc. C: I-III-IV-I-V In Band: a station AGa. C: I-III-IV-II Dock of the bay Otis AGb. C: I-III'-IV-II' Redding: W/zo: AGc. D: I'-III-IV-II-IV-V' I'm free For Yardbirds: your love AH. D: I-III-IV-IVBoys:I can Knowing me knowing you; Beach Abba: (GAHa&ICCa) AIa. C:I-III-IV-V Easy now; ElvisCostello: Ziggy Stardust;EricClapton: hear music; DavidBowie: Happy hour; Jam:Down in the tube station at Oliver's army; Housemartins: Mann:Just like a woman; Marmalade: midnight; Going underground;Manfred Be Waitingfor an alibi;TinaTurner: tender with Babymake it soon; ThinLizzy: me baby Pay Motorhead: your price AIb. D: I-III-IV-V' DuranDuran:Save a prayer AIc. A: I-III-IV-V Ain't that a kindness JohnnyWinter: AId. C: I-III'-IV-V Crazycity Harvest: James Barclay AIe. A: I-III-IV'-V Baggy trousers Madness: AIf. A: I-III-IV'-bV' Rock'n' roll suicide DavidBowie: AIg. C:I-III'-IV-V-VI (B) AJa. A: I-III-IV'-VI Animals:House of the rising sun; ElectricLightOrchestra: Let Standin' in the rain;JohnnyWinter: the music play The good thing Heads: Talking AJb. D: I'-III-IV-VI I I Beatles: am the walrus;Meters: need more time AJc.A: I'-III-IV'-VI-VII-I' Shape of things to come White room; Slade: Cream: AJd. A: I-III-IV'-VI-VII Travellingchess IcicleWorks: AKa. C: I-III'-IV-VII'-I Ain't no telling Jimi AKb. D: I'-III-IV-VII-V' Hendrix: No Hermits: milk today Gimme gimme gimme; Herman's Abba: BA. A: I-III-V thing Good Fine BBa.A: I-III-V-IV YoungCannibals: Minds:Let it all come down Simple BBb.A: I-III-V-VI Club:Do you really want to Flame of the west; Culture Big BC. C: I-III-VI Country: karma! Instant hurt me; JohnLennon: Reflectionsof my life Marmalade: BDa. C:I-III-VI-IX-IV-II-V Woman is the nigger of the world (IPA) C: I-III'-VI-IX-IV-IV--I JohnLennon: BDb. Bell-bottomblues S Derek Dominos: BDc. C: I-III'-VI-I-IV-V Things we said today Beatles: BE. E:I-III-VI-II Take my breath away Berlin: BF.C:I-III-VI-III Whatbecomes Ruffin: This Isley BGa.C:I-III-VI-IV Brothers: old heartof mine;Jimmy of the brokenhearted Jungle LightOrchestra: Electric BGb. C: I-III'-VI-IV Theymightbegiants:Road movie to Berlin BGc. C: I-III'-VI'-IV Southern man Neil BGd. A: I-III-VI-IV' Young: Awaiting on you all Harrison: It's Fine BHa. C:I-III-VI-V YoungCannibals: ok; George Happy house S Siouxsie Banshees: BHb. A: I-III-VI-V' Mac:Littlelies Fleetwood BIa.A: I-III-VI-VII Rockmaker Toto: BIb. G:I-III-VI-VII

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BJa.D: I-III-VII Wishbone Ash: The king will come BJb.A: I-III-VII David Bowie:Wild is the wind; Pink Floyd:Time;Supertramp: Bloody well right BJc.A: I'-III-VII BoomtownRats: The normal people; Roxy Music: For your pleasure; Re-make/re-model BKa. A: I-III-VII-I Country: Lost patrol;Remembranceday; Dead S Alive: You Big spin me round; Melanie:Stop I don't wanna hear it BKb.A: I-III-VII-IM Steam:Nananana BKc. A: I'-IIIM-VII-I' der Graaf Generator:After the flood Van BL. G: I-III-VII-II-V' Young Cannibals:I'm not the man I used to be Fine BM. A: I-III-VII-VI Jovi:Wild is the wind; GaryMoore:Murderin the skies Bon BN. G: I-III--VII-V' Kinks:Tiredof waiting for you CAa. A: III-I'EchoS Bunnymen:Clay;Peter Gabriel:Not one of us CAb. A: III4-I7 Collins: Throughthese walls Phil DAa. A: III-IV-I' (FDC)T. Rex: Get it on DAb. D: III-IV-I' Dylan: Do right to me baby Bob DAc. A: III'-IV'-I Plastic Ono Band:Cold Turkey EA. A: III-IV-I-VI Level42: Leaving me now FAa. A: III-VI-I Pink Floyd:Another brickin the wall FAb. A: III-VI-I' Motorhead: Overkill GAa. A: III-VII-I (HEA) Def Leppard:Rocket;Peter Hammill: The birds; Police: Roxanne; SimpleMinds: Mandeladay; Toyah:Danced GAb. A: III-VII-I' Elvis Costello:Partygirl;Z.Z. Top:Heard it on the X GB. G:III'-VII-V'-I Be-BopDeluxe: Like an old blues

Class F: Dominant sequences

Aa. F: I-V EmersonLakeS Powell: Learningto fly Ab. C: I-V Elvis Costello:Two little Hitlers; Big Country: Rain dance; Shirley Brown: Stay with me baby; Fleetwood Mac: Never going back again; Procol Harum: Boredom;TransvisionVamp:The only one; WeddingPresent:All this & more;A million miles; My favouritedress AAc. G: I-V Don Covay: See saw; Echo S Bunnymen: Back of love; Mel S Kim: Respectable;OrchestralManoeurres:Messages; U2:In God's country AAd. A: I-V All About Eve:Dream now; BarclayJamesHarvest:She said; Big Country: Lost patrol;Madness:Not home today; Tiptoes;Pink Floyd: Hey you AAe. H: I-V Echo S Bunnymen:Porcupine;The Fall: Spoilt Victorianchild; Madness: Take it or leave it; Turningblue; Motorhead:Stay clean; Rolling Stones: Paint it black AAf. C: I-V" ElectricLight Orchestra:Starlight AAg. B: I--V Van Halen: Intruder ABa. C: I-V-I Abba: Take a chance on me; Beatles: Yellow submarine; Creedence Clearwater Revival:Have you seen the rain;Up around the bend; Family:In my own time; Jam:A bomb in WardourStreet;Rattles: Sunshine every day; Thin Lizzy: Killeron the loose; W/zo: Happy Jack ABb. H: I-V-IBob Dylan: Man gave names to all the animals; They might be giants: Istanbul(not Constantinople) ACa. A: I-V'-II-IV-VI-IV-V' Nik Kershaw:Roses -I

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Move: Yellow rainbow ACb.F: I-V-II-V ACc. C: I-V-II-VEagles: Tequila sunrise; Peter Hammill: Candle; T'Pau: Only the lonely Eric ADa. A: I-V'-III-IV'-VI-VII Clapton:Let it grow Damage case Motorhead: ADb. A: I-V'-III-VII (HAE) Big Country: Chance; David Bowie: Queen Bitch; Ziggy AEa. C: I-V-IV Stardust; Phil Collins: I wish it would rain; Def Leppard:Run riot; Derek S Dominos: Anyday; Eagles: Already gone; Peter Hammill: Re-awakening;Icicle Works:Hope springs eternal;Kinks: Waterloo sunset; Madness: Close escape; Michael Caine; Talking Heads: The big country; Wedding Present: All this & more; Everyone thinks he looks daft;What did your last servant die of? AEb.A:I-V-BI Eric Clapton:I can't stand it T'Pau: Only the lonely AFa. C: I-V-IV-II-V Love AFb. A: I-V-IV-II-V Affair:Everlastinglove Genesis:Blood on the rooftops AG. D: I-V-IV-III AHa. C: I-V-IV-VBeach Boys: God only knows; Beautiful South: From under the covers;Woman in the wall; Big Country:I walk the hill; The sailor;Phil Collins: It don't matter to me; FleetwoodMac: I don't want to know; GeorgeHarrison: Apple scruffs; Jonathan King: Everyone's gone to the moon; Led Zeppelin: Tangerine;Love Affair: Lincoln County; Madness: Marchof the gherkins;VictoriaGardens;Mott the Hoople:Roll away the stone; Queen/DavidBowie:Under pressure;T'Pau: Secret garden; Vapors:News at ten (DEB)BeachBoys: Good vibrations;Phil Collins:This must be love; AHb. A: I-V-IV-V Gentle Giant: Aspirations;Nik Kershaw:Wide boy AI. C: I-V-VI-I(BD) CreedenceClearwaterRevival: Proud Mary; Stevie Wonder:He's MisstraKnow-it-all (ABB)Elvis Costello:There's no action; Slade:Farfar away AJa. C: I-V-VI-I-IV-II-V Madness: Disappear C: I-V-VI-I-IV-V-I AJb. (B) AK. F: I-V-VI-II Blondie:Atomic;Byrds:I'll feel a whole lot better XTC: Balletfor a rainy day ALa. C:I-V-VI-III-IV Gentle Giant: Cogs in cogs ALb. C: I-V-VI'-III-IV Madness:Rise & fall AM. A: I-V'-VI-III'-VII ANa. C: I-V-VI-IV(DDB) Big Country: The sailor; Creedence Clearwater Revival: Someday never comes; Dire Straits:Romeo and Juliet;Billy Joel:Shameless;We didn't start the fire; Bob Marley: No woman no cry; Paul McCartney:Figure of eight;McGuinness Flint: When I'd dead and gone; Olivia Newton-John:Takeme home country roads; Orchestral Manoeurres: Tesla girls; Police: So lonely; Smiths:Reel around the fountain; Vapors:Somehow Billy ANb. E:I'-V'-VI-IV--II-V'-I Joel:State of grace DerekS Dominos: Bell-bottomblues ANc. C: I-V-VI-IV-V (GBB)Leo Sayer:When I need you AOa. C: I-V-VI-V Police: Roxanne AOb. A: I-VI-V-IV-VII-I APa. A: I-V-VIILevel 42: Physical presence; Smiths: You've got everything now; Thin Lizzy: Waitingfor an alibi; WishboneAsh: Warrior Jimi Hendrix:If six was nine; Toto:Manuela run APb. G:I-V'-VII (BDB)Toto:Angela AQ. A: I'-V'-VII-IV-VII Toyah:Race through space AR. A: I'-V'-VII-VI (ILA)Kinks:Autumn almanac BA. C:II-V-I-V BB. E:II--VII-V--IJethroTull: 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 S TammiTerrell: takes two; Peter Gabriel: It Kiss of life; Nik Kershaw: You might; Nazareth:Broken down angel; Orchestral Manoeurres: Souvenir;PinkFloyd: Vera;ChrisRea: Tell me there's a heaven; Vapors: Waiting for the weekend; JuniorWalker: How sweet it is; Who: a boy; StevieWonder: I'm Living in the city DBb. A: IV-V-I Fleetwood Mac: Big love; Oh Daddy; David McWilliams: Days of Pearly Spencer;Toto: Hold the line DBc. A: IV-V-V'-I PaulMcCartney: Distractions DC. C: IV-V-I-III' (EDAa)JohnLennon: Imagine DD. C: IV-V-I-VI(DBAa) Barclay JamesHarvest:Galadriel;David Bowie:Ashes to ashes; Creedence Clearwater Revival: Have you ever seen the rain;KylieMinogue: Turn it into love; R.E.O. Speedwagon: of a poor man; ChrisRea:Daytona Son EAa. C: V-I Byrds:Turn! turn! turn!; DeepPurple:Into the fire; JohnLennon: Give peace a chance; Pink Floyd:Chapter 24; R.E.O. Speedwagon: Whiskey night; Z.Z. Top: Francine EAb. A: V-I KateBush:Strangephenomena EAc. H: V-I VanderGraaf Generator: White hammer FA. C:V-VI-IRoxyMusic:Spin me round FB. C:V-VI-IV-V-I Beach Boys:Breakaway GA. A: VI-IV-V-I (DEA)Police:I can't stand losing you GBa. C: VI-V-IBeautif7X1 You keep it all in; Fine YoungCannibals: South: Don't let it get you down GBb.H: VI-V-IShocking Blue:Venus; TinaTurner: Undercoveragent for the blues HA. G:VII-V-I Jam: Smithers-Jones ClassG: Subdominant sequences AAa. C: I-I--IVLedZeppelin: rain song The AAb. C: I-I=-IV George Harrison: Isn't it a pity AAc. C: I-IX-IV Fleetwood (B) Mac:Welcome to the room . . . Sara AAd. C: I-IX-IV-IVIcicleWorks: When you were mine AAe. C: I-F-N George Harrison: Isn't it a pity AAf. C: I-IM-IX-IV Collins:Don't let him steal your heart away; ElectricLight Phil Orchestra: Steppin' out AAg.C: I-IX-IV-I-I George Harrison: dig love I ABa. C: I-N Abba:Mama mia; Beatles: Lady Madonna; Revolution;Be-Bop Deluxe: Blazing apostles; Fair exchange; Like an old blues; Big Country: Angle Park; Close action; BloodSweatS Tears:Hi-de-ho; Byrds:Chimes of freedom; Mr Tambourineman; Eric Clapton: Motherless children; Dave ClarkFive:Bits & pieces; Glad all over; Phil Collins:Like china; Elvis Costello:Pay it back; Creedence Clearwater Revival: Hey tonight; DeaconBlue:Wages day; Your constant heart; Def Leppard: Excitable;Donovan: Colours; EddieFloyd:Bring it on home to me; Aretha Franklin: Respect;PeterGabriel: Biko;PeterHammill: Child; Viking;Frederick Knight: been lonely for so long; JeanKnight: Big Stuff; I've Mr. JohnLennon: Imagine;McGuinness Flint:When I'm dead and gone; MeatLoaf: You took the words right out of my mouth; SteveMillerband:Who do you love; Nazareth: lthis flight tonight;JohnOtwayS WildWillyBarrett: Reallyfree; Wilson Pickett: the midnight hour; PinkFloyd: the flesh?;R.E.O. SpeedwaIn In

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

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Without expresNow I'm here; R.E.O. Speedwagon: Your own choice; Queen: Get sion; RollingStones: off of my cloud; Theymightbegiants:Dead; Yourracist Arms of love; Between The hand that rocks the cradle;T'Pau: friend; Smiths: the lines; Heaven; Road to our dream; Running away; Time will tell; Terence Don't Spring collection;SheilaWalsh: If TrentD'Arby: you let me stay; Vapors: nowhere fast; Who:Anyway anyGetting Present: hide your heart; Wedding Only love can breakyour heart how anywhere; Neil Young: & lDead Alive:You spin me round AHb. l): I-TV-V The I AHc. A: I-IV-VPhil Collins: missed again; KingCrimson: night watch; Genesis: 42: All in a mouse's night; Level Dream crazy;Pet ShopBoys:West End girls On Madness: the beat Pete Girlfriend; South: AHd. H: I-IV-VBeautiful AHe. F: I-IV'-V10000volts:Totallyuseless Fool to cry I'm AHf. D: I-IV-V'Phil Collins: not moving; RollingStones: Fields of fire; BonJovi:Love for sale; Waterloo;Big Country: Abba: AIa. C: I-IV-V-I For Takeme in your arms;MeatLoaf: crying out Knight: Drama;Gladys Erasure: The Joan of Arc; PinkFloyd:Free four; Supremes: Manoeurres: loud; Orchestral Born to be sold Vamp: happening; Transvision Abracadabra SteveMillerband: AIb. A: I-IV-V-I T Abba:The name of the game; Booker & MGs:Soul limbo; Eddie AJ. C: I-TV-V-TV Summer& lightning;Peter LightOrchestra: C'mon everybody; Electric Cochran: Stay; If Manoeuvres: you leave; PinkFloyd: Family snapshot; Orchestral Gabriel: Hang on Sloopy; Game of love; Sandpipers: Police: Bornin the 50s; BrianPoole: Vamp:Baby I don't care; Troggs: Sweets for my sweet; Transvision Searchers: Wild thing; UB40:Red red wine It's Bon AK. C:I-IV-V-VI Jovi:Stickto your guns; StringDrivenThing: a game; T'Pau: Island Guess I'll go away JohnnyWinter: AL. G:I-IV-V'-VII We PaulMcCartney: got married AMa. A: I-IV-VI-I Fly Andy Warhol;SteveMillerband: like an eagle DavidBowie: AMb. A: I-IV'-VI-I Goin' down Monkees: AMc. A: I'-IV'-VI-I' In Big AN. C:I-IV-VI-II' Country: a big country Suffragettecity lDavid Bowie: A: I-IV' -VI-III-VII AO. AP. C: I-IV-VI-IVBig Country:Inwards; Bob Dylan: Precious angel; Madness: E.R.N.I.E. She Close action; Fine YoungCannibals: drives me Big AQa. C: I-IV-VI-V Country: Love at first sight crazy;KylieMinogue: ChrisRea:The road to hell (pt.2) AQb . H: I-IV-VI-V The great divide; BonJovi:Blood on blood; Phil Big AQc. G: I-IV-VI-V-VII Country: Behind the lines; U2:Where the streets have no name Collins: ChrisRea:Texas AR. A: I'-IV'-VI-VII Sweet It Bowie: ain't easy; ArthurConley: 100 BAa. C: IV-I Big Country: stars; lDavid Blue:Circuslights; Miracleman; Night rally;Deacon soul music; ElvisCostello: Mac: Songbird; Eddie Real gone kid; Eagles:One of these nights; Fleetwood Thickas thieves; RoxyMusic:Cry cry cry; Terence Floyd: Knock on wood; Jam: If Trentd'Arby: you let me stay; U2: Elvis Presley & America;Promenade;A sort of homecoming For Led BAb. D: TV-I Zeppelin: your life Childhood's end PinkFloyd: Embarrassment; BAc. A: IV-IMadness: Bob BAd. C: IVX-IX Dylan:Do right to me baby

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BBa. C:IV-I-II-I DeaconBlue:Orphans BBb.E: IV-I-II-I (FAO) Slade: Coz I luv you; ThinLizzy: Jailbreak BC. C: IV-I-II-IV-V-I Be-Bop Deluxe: Crying to the sky BD. C: IV-I-II-V Electric LightOrchestra: Summer & lightning; PinkFloyd: Time BE. C: IV-I-II'-V Boomtown Rats:Me & Howard Hughes BF. A: IV'-I-III-VII-VI Supertramp: Crimeof the century BG. C: IV-I-IV-V Derek Dominos: the truth S Tell BH. C: IV-I-V-IBig Country: Steeltown; Byrds:All I really want to do; Creedence Clearwater Revival:Down on the corner;Jam:Smithers-Jones;Theymight be giants:We want a rock BI. C: IV-I-VI-I DavidBowie: Starman BJ.C: IV-I-VI-II'-V PeterGabriel: And through the wire BKa.G:IV-I-VII-I (BBNa&HCAa) Kongos: John Tokoloshe man BKb.G:IV-I-VII--I ElvisCostello: Less than zero BL. C: IV-II-I Phil Collins: cannot believe it's true; Nik Kershaw: I Save the whale BM. D: IV-III-I Collins: don't care any more Phil I BN. A: IV-III-IV-I Floyd: Pink Young lust BO. A: IV'-VI--I' Wedding Present: favouritedress My BP. C: IV-V-II-I Young: me why Neil Tell BQ. C:IV-V-IV-I Dylan:When He returns Bob BR. A: IV-VI-III-I Fleetwood Mac:The chain CAa. C: V-IV-I(HAEa)Big Country: Harvest home; KateBush:The kick inside; Billy Joel: That's not her style CAb. G: V-IV-IGeorge Harrison: things must pass; Simple All Minds:Street fighting years CAc. A: V-IV-IPinkFloyd: Money CB. C:V-IV-I-IV-II-I PeterGabriel: Wallflower ClassH: Sharpwise cyclicsequences AAa. A: I-III-VII-IV-I Kinks: Dead End Street AAb. D: I-III-VII-IV YoungCannibals: not satisfied;Jethro Fine I'm Tull:4 W.D.; Meat Loaf: out of hell; Siouxsie Banshees: Bat S Arabiannights ABa. F: I-V-IIDeepPurple: Flight of the rat ABb. C:I-V-II Abba: Super trouper;Beatles: With a little help frommy friends;Dexy's MidnightRunners: Come on Eileen; Supremes: Where did our love go?; They mightbegiants:Hearing aid ACa. C: I-V-II-IV Leppard: riot Def Run ACb. C: I-V-II'-IV Boomtown Rats:I never loved Eva Braun ACc. A: I'-V-II--IV Madness: Our house AD. C: I-V-II-VI-V GaryMoore: Rest in peace AEa. C: I-V-IV-I(FAE&GCAa) Band:Long black veil; DavidBowie: Diamond dogs; Creedence Clearwater Revival: Bad moon rising; Fortunate son; Fleetwood Mac: Go your own way; Kinks: Village Green PreservationSociety;Marmalade: Baby make it soon; Who: Substitute AEb. H: I-V-IV'-I Eagles: Witchy woman; GentleGiant:Giant for a day AFa. G:I-V-VII-IV Hendrix: Jimi One rainy wish AFb. A: I-V-VII-IV Supertramp: School AFc. G: I-V'-VII-IV Icicle Works: Walking with a mountain; Lindisfarne: When the

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

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

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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' Hammill: Peter Happy BEd. G:I-IV-VII-III-VI Minogue: Kylie Turnit into love; Procol Harum: devil came The from Kansas;SimonS Garfunkel: Robinson Mrs BEe. A: I-IV'-VII-III-VI Costello: Elvis Accidents will happen BEf.A: I'-IV'-VII-III-VI S Cry:Labourof love Hue BEg. E: I-IV' -VII-III-VI--II UriahHeep: The spell BEh. A: I-IV-VII-III-VI-II-V' Gaynor: will survive Gloria I BFa. C: I-IV-II-V BeachBoys:Wouldn't it be nice; Def Leppard: Love bites; Eagles: Lyin' eyes; IcicleWorks: here in the north of England;SimonS Garfunkel: Up Only living boy in New York; Transvision Vamp:Landslide of love; Bonnie Tyler: Lost in France;Neil Young: the morning comes Till BFb. C: I-IV-II'-V Beatles: Things we said today; DavidBowie: Changes; Move:Walk upon the water BG. C: I-IV-II-V-III-VI-IV-I Harum: Procol Homburg CA. F: I--III' -VI'-III' -II-VMotorhead: ya down Tear CB. C: I-III-VI-II-V Queen: Don't stop me now CCa. C: I-III-II-V (EAIa)Abba: Super trouper;Beatles: happy just to dance with I'm you; Beautiful South: Blackpool;CuffLinks: Oh Tracy;Gerry Pacemakers: S I like it; BillyJ. Kramer: you want to know a secret?;Move:Curly Do CCb. C:I-III-II-V-I Mary Wells: guy My DAa. F: I-II-VKinks: You really got me; Move:Flowers in the rain DAb. C: I-II-VBeach Boys:Don't worry baby;I can hear music; DavidBowie: Bewlay brothers;ElvisCostello: Senior service; Who: Substitute DAc. G:I-II-VSouxsieS Banshees: Spellbound DBa. F: I-II-V-I Beach Boys:Heroes & villains;Beatles: want to tell you I DBb. C: I-II-V-I AdamS Ants:Ant music; Beach Boys:You'reso good to me; Beatles: Tell me why; DavidBowie:Sound and vision; JanisIan:At seventeen; Plastic OnoBand: Happy Christmaswar is over DBc. A: I-II'-V'-I Abba: Money money money; Procol Harum: Pandora'sbox DBd. B: I--II-V-I- DavidBowie: Bewlay brothers EA. C: I-IM-II-V EdwinStarr: Stop her on sight FA. C:V-V7-I-II7 Bush:The morning fog; Procol Kate Harum: Pilgrim'sprogress FB. C: VI-II-V-IDef Leppard: Love bites; Procol Harum:Magdalene my regal zonophone GA. C: V-III'-VI-II'-IV-II-I Dancing queen Abba: GB. C: V-I-IVIcicleWorks: Evangeline;Level It's not the same for us 42: GC. C:V-I-IV-VDef Leppard: Gods of war HA. G:IV-VII-I Byrds: feel a whole lot better;EricClapton: I'll MainlineFlorida HB. C: IV-V-III-VI-II-V-I McCartney: Paul Figureof eight; KylieMinogue: should be I so lucky HC. D: IV-V'-IHappy Mondays: Bringa friend HD. C: IV-II-V-I KateBush:Wuthering Heights; JudyClay S William Bell:Private number;lDef Leppard: Love bites; lDerek lDominos: S Layla;KylieMinogue: to Got be certain;Procol Harum: The final thrust HE. C: IV-II-III-VI-II-V-I Petula Clark:My love is brighter than the brightest sunshine HF. C: IV-I-II'-V-I BonzoDog Band: Canyons of your mind IA. C:III-VI-IV-V-I Supremes: happening The

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IB. C:III-VI-II-V Martha Reeves: ready for love I'm ICa. C:III-VI-II-V-I Beatles: Can'tbuy me love; BigCountry: Eiledon;PhilCollins: You can't hurry love; Elvis Costello: Living in paradise;KylieMinogue: miss you; I I'll still be loving you ICb. C: III'-VI-II-V-I StevieWonder: high Too ICc. F: III'-VI-II-V-I David Watts Jam: IE. G:III'-VI'-II'-V-VII-I BryanFerry: The 'in' crowd IF. E: III'-VI'-II'-V'-I' Supremes: happening The JA. C: II-VI-IV-V-I Beatles: And I love her JBa.F: II-V-IDavidBowie: Red sails; Johnny Burnette: You'resixteen JBb. C: II-V-IAbba:Super trouper; AlbertHammond: never rains in Southern It California; Beatles: With a little help from my friends;Jam: BillyHunt; Down in the tube station at midnight; Santana: the love of the universe All JC. C:II'-V-I-IV AboutEve:More than the blues All JDa. C:II-V-I-VI A-Ha:Takeon me; Beatles: Lady Madonna;Fleetwood Mac:You and I, part II; GeorgeHarrison: sweet lord; Paul McCartney: My This one; Stevie Wonder: place in the sun A JDb. C: II-V-I-VI' Beach Boys:Darlin' JE. G:II-V'-I-VII= Procol Harum: Conquistador JF. D: II-V'-VI--IV-V'-III-I' Eurythmics: There must be an angel PA. G:I-III'-VI-IX-IV-VI'-II-IVx-VII ElvisCostello: (EBDb) Partygirl PB. A: I-III-VII-IV'-VI-III-V Wishbone Throw down the sword Ash: PC. A: I-V'-VII--IV'-IV--VII-V'-bV' Madness: PrimroseHill Class1:Non-tonic elaboration/tonic preparation AA. A: VII-VI-V' KingCrimson: Courtof the crimson king BA. G:VI-VIIU2:Wire BB. A: VI-VII-V' Siouxsie Banshees: S Mirage BCa. C:VI-V Vapors: Letterfrom Hiro BCb. H: VI-V Vapors: Somehow BDa. C:VI-V-IV-V Supremes: Stop in the name of love BDb. C:VI-V-IV(B) BigCountry: Heart & soul; DavidBowie: Star;lohnnyWinter: Am I here? BDc. A: VIX-Vx-IVx-Vx Madness: Madness is all in the mind BE. C:VI-IVBe-Bop Deluxe: Sleep that burns BF. C:VI-IV-V Country: with grey eyes; Porrohman; Big Girl Fleetwood Mac:Go your own way BG. A: VI-IV-III-VII Collins: Phil The roof is leaking BH. A: VI-III-VII Leppard: Def Armageddon it BI. C:VI-III-VII-IV Bush: Kate James& the cold gun BJ.C:VI-III-VI-V SimonS Garfunkel: boxer The CA. C: V-IV Eric Burdon:It's my life; DeaconBlue:Your constant heart; Aretha Franklin: Respect; Frederick Knight:I've been lonely for so long; LedZeppelin: Royal Orleans CB. C:V-IV-II-V Country: Big Where the rose is sown CCa. C: V-VI-IV-VCockney Rebel:Judy Teen; Fleetwood Mac: Everywhere; Gary Moore: I want All CCb. C:V-VI-IV-II' RollingStones: Fool to cry

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CD. C: IV-#IV-V-IX McCartney: Paul That day is done CE. C:IV-VI-II' DavidBowie: Moonage daydream DAa. C:IV-VBoomtownRats: Don'tbelievewhatyouread; DavidBowie: Hangonto yourself;EricBurdon: Spill the wine; Byrds: you want to be a rock'n'rollstar; So Elvis Costello: Two little Hitlers; Five Star:Rain or shine; King Crimson: Two hands; LedZeppelin: ocean; Over the hills and far away The DAb. H: IV-VGentleGiant: Proclamation DC. A: IV-III-VII-VI Gabriel: your hands on me Peter Lay DDa. C:IV-III-II-V Young: Neil Only love can breakyour heart DDb. E:IV'-III-II-bI'-V StevieWonder: Visions EA. C:III-VI-IV-V Beautiful South: Song for whoever EB. A: III-IV'-VI-V Kinks: the end of the day Till EC. A: III-VI Kinks: Dead End Street ED. F: III'-VI-V-I-IX-II-V Electric LightOrchestra: Wild west hero FAa. F: II-V David Bowie:Hang on to yourself; Creedence Clearwater Revival:Hey tonight FAb. C: II-V ElvisCostello: Little triggers;FourTops:Reach out; lohn Lennon: No. 9 dream;SimplyRed:Holding back the years; Supertramp: Bloody well right ClassK:Twelve-bar blues(oftenwitheight-bar bridge movingto VI) One chord per bar:bracketsincorporateintra-barchanges AA. A: I-I-I-I-III--III-II--I-I-V-VII-I-I Hendrix: limi Littlemiss lover ABa. C: I-I-I-I-IV-IV-I-I-V-V-I-I Berry: Chuck Johnny B. Goode; Bonlovi: Bad medicine; EricClapton: can't hold out; DannyS theluniors:At the hop; Bill Haley: I Rock around the clock; BuddyHolly:Oh boy; Louislordan:Choo choo ch'boogie; lerryLeeLewis: Whole lotta shakin' goin' on ABb. A: I-I-I-I-IV-IV-I-I-V-V-I-I T S MGs:Green onions; Z.Z. Top:Blue jean Booker blues ABc. C: I-I-I-I-IV-IV-I-I-V-IV-V-I Creedence Clearwater Revival: Travelin'band ABd. C: I-I-I-I-IV-IV-I-I-(V-II)-V-I-I Boys:Littledeuce coupe Beach ABe. ABa irreg. extensions Elvis Costello: Waiting for the end of the world; limi Hendrix: She's so fine ABf. D: I-IV-I-I-I-IV-I-I-V-V-I-I Top:Backdoorlove affair Z.Z. ACa. G:I-I-I-I-IV-IV-I-I-V'-(VII-IV)-I-I Quo:In my chair Status ACb. G:I-I-I-I-IV-IV-I-I-V'-(VII-IV-V')-I-I Swan:I can help Billy AD. A: I'-I'-I'-I'-IV'-IV'-I'-I'-V'-(VI-IV'-V')-I'-I' Clapton: boy Eric Bad AEa. C:I-I-I-I-IV-IV-I-I-V-V-V-I Costello: Elvis Blameit on Cain AEb. C: I-I-I-I-IV-IV-I-I-V-V-V-V Cream: Sunshine of your love AFa. C: I-I-I-I-IV-IV-I-I-V-IV-I-I Boys:Barbara-Ann; Beck: me love you; Beach leff Let You shook me; Canned Heat:Togetherwe stand; EricClapton: Blow wind blow; Everly Brothers: dog; Madness: Bird Solid gone; Merseybeats: Sorrow;SteveMiller band: Mercuryblues; Nazareth: bad boy; R.E.O. Speedwagon: Bad Movin';Little Richard: Good golly Miss Molly;Tutti frutti;Mungolerry:In the summertime; GeneVincent: Be-bop-a-lula; lackieWilson: Reet petite; Z.Z. Top:Tush; Waitin' for the bus AFb. A: I-I-I-I-IV-IV-I-I-V-IV-I-I Dylan:Gonna change my way of thinking;Pink Bob Floyd: Money AFc. C: I-I-I-I-IV-IV-I-I-V-IV-I-V Beatles:You can't do that; Swinging Blue leans: Hippy hippy shake

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AFd. C: I-I-I-I-IV-IV-I-I-V-V-IV-I lohnnyWinter: Look up AFe. G:I-I-I-I-IV-IV-I-I-V-(IV-VI-V')-I-I Clapton: Eric Steady rollin' man AFf. A: I-I-I-I-IV-IV-I-I-V-(IV-VII)-I-IZeppelin: for one Led Tea AFg. C: I-IV-(I-IV)-I-IV-IV-(I-IV)-I-V-IV-(I-IV)-(I-V)Heep: Uriah Lucy blues AFh. Afa irreg. extensions LedZeppelin: Hats off to (Roy)Harper BA. A: I-I-I-I-IV-IV-I-I-IV-(VI-VII)-I-I Riderson the storm Doors: BB. C: I-I-I-I-IV-IV-I-I-IV-V-V-I Beatles: Can'tbuy me love BC. C: I-I-I-I-IV-IV-I-I-IV-IV-V-V Domino: Fats Ain't that a shame BDa. C:I-I-I-I-IV-IV-I-I-IV-I-V-I Otis Show: lohnny Willie and the hand jive BDb. C: I-I-I-I-I-I-I-I-IV-I-(V-IV)-I Top:Beer drinkers& hell raisers Z.Z. BEa.D: I'-I'-I'-I'-IV-IV-I'-I'-III-VII-I'-I' Who: (IA) The seeker BEb. D: I'-I'-I'-I'-IV-IV-I'-I'-(III-VII)-(III-VII)-(III-VII-V')-I' Winter: lohnny Prodigal son CA. C:I-I-I-I-IV-IV-I-I-II'-IV-I-I When Alice comes back to the farm Move: DA. C: I-I-I-I-IV-IV-I-I-I-I-I-I Richard: Little Tutti frutti DB. C: I-I-I-I-IV-IV-I-I-I-(II'-V)-I-I Top: Z.Z. Jesus left Chicago GA. C: I-I-I-I-V-V-IV-IV-V-IV-I-I Cochran: Eddie 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 limi Hendrix: six was nine (BE) If JA. G:I-I-I-I-VII-VII-I-I-V'-IV-I-I Meters: Live wire LA. C: I-I-I-III'-VI-II'-VII--III'-IV-V-I-V LightOrchestra: Blue Sky Electric Mr. MA. G: (I-IV)-I-VII-I-(I-IV)-I-VII-I-IV-V'-(I-IV)-I Hard day's night Beatles: NAa. A: I'-IV'-VI-I-IV-IV-I-I-V-IV-I-I Holly:Peggy Sue Buddy NAb. C: I-IV-I-I-IV-IV-I-I-V-IV-I-I Holly:Peggy Sue Buddy NAc. C: I-IV-I-I-IV-IV-I-I-V-IV-(I-IV)-(I-V) S Dominos: Derek 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 Top: Z.Z. Just got paid PA. C: IV-IV-I-I-IV-IV-I-I-V-IV-I-I Beck:I ain't superstitious; Motorhead: Limb from limb;Nazareth: bad boy Bad

leff

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

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Cream:Sitting on top of the world BBb.C: I-I-IV-IV-I-V-I-I lerry BC. C: I-I-IV-IV-V-IV-I-I LeeLewis:Greatballs of fire (GAHa)BeachBoys: Californiagirls BD. C:I-I-IVX-V-I-I-IVx-V Thin CA. A: I-I-V-I-IV-I-V-(IV-VI)-I Lizzy: Chinatown ElectricLight Orchestra:Birminghamblues CB. C:I-I-V-V-IV-V-I-I Eric DA. C: I-IV-I-IV-(I-VI)-(II-V)-I-I Clapton:Something special -II' DB. C: I-IV-I-IV-I-V-II' Roxy Music: Grey lagoons Beach Boys: Fun fun fun; lim Reeves: I love you because; DC. C: I-IV-I-V-I-IV-V-I Rolling Stones: Honky Tonk Women; T. Rex: Ride a white swan Eric DD. C: I-IV-IV-I-I-II'-V-I Clapton:Blues power Derek EA. C: I-V-IVX-IVx-I-V-I-V S Dominos: Key to the highway Beatles:Hey Jude;Drifters:Under the boardwalk EB. C: I-V-V-I-IV-I-V-I Leon FA. C: I-VII'-I-VI'-II'-V-I-(II-V) Redbone:Relax Ray HA. C:IV-I-V-I-IV-I-V-I Charles:I can't stop loving you; Fats Domino: Blueberry Hill; Everly Brothers:Birddog; Roxy Music: Would you believe? Buddy IA. C: IV-IV-I-I-IV-IV-I-(V-I) Holly: That'llbe the day Louis IB. C:IVX-IVx-I-I-V-V-I-I lordan: Choo choo ch'boogie Meat IC. G:IV-IV-I-I-VII-IV-I-I Loaf:Let me sleep on it BeachBoys: Surfin'USA; ChuckBerry:Sweet little sixteen LAa. C:V-I-V-I-IV-I-V-I Kinks: LAb. C:V-I-V-I-IV-(I-VI')-(II-V)-I Dedicated follower of fashion ChuckBerry:Memphis Tennessee MA. C:V-V-V-V-I-I-V-I Chris RA. C:I-I-I-I-IV-IV-I-I-V-IV-V-IV-I-I-I-I Montez: Let's dance Nazareth:Razamanaz RB. C: I-I-I-I-IV-IV-I-I-V-V-IV-IV-I-I-I-I Eric RC. C: (I-V)-I-IV-I-I-IV-(I-V)-I Clapton:Floatingbridge Class M: Returning modulations Band: We can talk; Beatles: Good day sunshine; Madness: Victoria AA. G: IC-VIIC I'm Gardens;Gary Moore:Teenage idol; Who: free Derek S Dominos: Layla AB. C:IA-VIIA-IIC Picturesof Lily Derek S Dominos: Bell-bottomblues; Who: BAa. C:IC-VIC BAb. C: IC-VIA David Bowie: Moonage daydreams;Elvis Costello:The beat; Simple Minds: Sound in 70 cities BB. D: IA-VIADuran Duran: Save a prayer;Nik Kershaw:Roses; Madness: Turning blue David Bowie: Golden years; Gentle Giant: Cogs in cogs; Led Zeppelin: BC. A: IC-VIC Celebrationday; The Look:The beat; SpandauBallet:True;Supremes:You keep me hanging on; WeddingPresent: Something & nothing CA. C: IC-VC Queen: Killerqueen CB. C:VG-IC Derek S Dominos: Anyday Gary Moore:Run to your mama CC. A: IA-VA-IVA Madness: The blue-skinned beast DA. F: IC-IVA Drifters:Under the boardwalk;Peter Gabriel:Wallflower;LoveAffair: DBa. C: IC-IVC I Everlastinglove; Who: can see for miles Beatles:I am the walrus DBb. C: IVC-IC DBc. C:IA-IVA Abba:Summer night city; Bon lovi: Wild is the wind DC. A: IA-VIA Big Country:Girlwith grey eyes Madness: One better day DD. A: IA-IVA-VIC A C:IC-VIA-VIIA-VIA Procol Harum:Nothing but the truth DE.

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DF. A: IA-VIA-VIIA-VA-IA Cooper:Poison Alice EAa. C:IC-IIIC Four Tops:Reach out; Pink Floyd: Free four EAb. C:IA-IIIA Level42: Lying still EAc. A: IC-IIIC Clapton:Easy now; Petula Clark:Don't sleep in the subway;lam: Eric Man in the corner shop; Kinks:Days; Simon S Garfunkel: Mrs Robinson; Who: Pinballwizard EAd. C:IIIC-IC Collins: Behind the lines; Hand in hand Phil EAe. A: IA-IIICBarclay lames Harvest: Summer soldier; FleetwoodMac: You make loving fun; Gentle Giant: Takeme; lam:Butterflycollector;Madness: Not home today; Gary Moore:Rest in peace; Slade:Farfar away EAe. A: IA-IIIA lovi: Born to be my baby Bon FAa. C: IC-IIA David Bowie:Ziggy Stardust FAb. F: IC-IIC BeachBoys: Don't worry baby;Fine Young Cannibals:Don't look back; Gary Moore: Really gonna rock;Roxy Music: Dance away; limmy Ruffin: What becomes of the brokenhearted?; Supertramp: Asylum; T'Pau: Only the lonely FAc. A: IA-IIAlethro Tull: Something's on the move; SimpleMinds: Theme for great cities FB. C:IA-bIIA-IIA-VIIA Madness:Tiptoes GAa. C:IC-IABeatles:Here there & everywhere GAb. C:IA-ICDerekS Dominos: Why does love got to be so sad HA. A: IIC-IIIC-IC Beatles:Lucy in the sky with diamonds
Class N: Progressivemodulations

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

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AllanMoore

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