Patterns of Harmony

Author(s): Allan Moore

Source: Popular Music, Vol. 11, No. 1 (Jan., 1992), pp. 73-106
Published by: Cambridge University Press
Stable URL: http://www.jstor.org/stable/853228
Accessed: 15/06/2010 08:30

Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.

Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=cup.

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of
content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms
of scholarship. For more information about JSTOR, please contact support@jstor.org.

Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Popular
Music.

http://www.jstor.org
PopularMusic (1992) Volume 11/1

Patterns of harmony

ALLAN MOORE

Introduction
Thereare two seeminglyself-evidenttruthsconcerningthe harmonicpracticesof
popularmusic. The first, which finds clearexpressionin Adorno,is that such
music'sharmoniclanguageis both detrimentally limitedand static.Theharmonic
repertoireis consideredto consistof a few formulae(Adornodealswith themin
termsof standardisation:see Middleton1990,p. 45ff.),by meansof whichsong-
writersstringtogethertheir songs, uninfluencedby the song's content.Forthe
expertlistener,therefore,popularmusic should be uninteresting:it is only its
psycho-economic dimensionwhichmakesit worthyof study.Thistendsalsoto be
the conclusionof establishedmusicology,exceptthat thereit is felt such 'extra-
musical'speculationis best left to the sociologist.The second truthis that the
differencesbetweenAfro-American-derived stylesarematerial,sinceouridentities
are so stronglyincorporatedin the styleswe use:
We mark out the differencesbetween genres and styles partlyby referenceto contrastsin
the way this stock of techniques and sounds is used. (Middleton1990, p. 88)
Sinceharmonyis not onlyat theforefrontof traditionalanalyticalinvestigation,but
alsoformsan importantinitialfocusforsongwriters,it maywellbe assumedthatit
is thereforean importantfactorin enablingus to distinguish,for example,'rock'
from'pop'from'soul'. However,the materialrealitybehindthese differencesof
style has rarelybeen subjectto systematicinvestigation.
I havelong feltthatthesetwinbeliefsarethe resultof speculationratherthan
analyticalinsight,andthe datapresentedherein the appendixis intendedto shed
some light on the harmonicnatureof such music. The data collectionexercise
began as a pedagogicaltool, aimed at enablingab initiostudentsto acquirethe
beginningsof a sense of harmony.It is presentedwith this aimstillverymuchin
mind, and it may thereforebe of use to some readersof this journal.Needlessto
say, the taskis barelyunderway. Asidefromenablingme to respondto theseself-
evidenttruths,the practiceof categorisingthe datahas raiseda numberof import-
ant questions,considerationof whichmightbe bypassedby thosenot particularly
musicallyliterate.
I have subjecteda wide varietyof rock/pop/soulto harmonicanalysisso far.
Some songs may be ratherunfamiliarto some readers,and the rangeperhaps
unbalanced.The musicused here has been almostrandomlychosen,but with a
primaryconcernto evade the implicitconstructionof a centralcanon. I have
decidedto make this work publicat this time both for its pedagogicvalue and
becausethe rangeof data seems to be largeenoughto begin to supportconclu-
sions, althoughthe exerciseclearlyrequiresextendingbeforesuchconclusionscan
be consideredproperlydefinitive.
73
74 Allan Moore

Reading the data

The appendix lists a large number of harmonic patterns, categorised in order to
enable similarities to be compared. It is for this reason that I have adopted a
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 pass-
ages, depending on the characteristicsof each individual song. (Manysongs there-
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 A-
are 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 predomin-
ate. 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 cross-
referencing, 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 startingI-
V-I-, those beginning ABC- have patterns starting I-V-II-,those beginning ABD-
start I-V-III-,and so on, in a fairlylogical manner. Where it is necessary to further
differentiate patterns, and especially where the same pattern appears within a
differentmode (see e.g. all groups AA- here), I have appended lower case letters.
Therefore, each pattern is uniquely identified. For example, the common
Aeolian pattern I-VI-VIIcan be referred to as CDAa. The initial 'C' refers to the
 Patterns of harmony 75

class 'stepwise ascending harmony', while 'DAa' referencesthe patternwithin that

class. The code CIAbwhich appears in bracketsis a cross-referenceto the Aeolian
pattern VI-VII-I,which it strongly resembles. Patternshave not been exhaustively
cross-referenced:I have concentratedon those I have found of most practicalvalue.
Classes have been derived pragmaticallyin order to include all the patterns I have
identified so far - of course, each class will expand as the amount of data grows.
Classes M and N, which concern modulations, requirea little more explana-
tion, in that roman numerals refernot to harmonies founded on a particularscale-
degree, 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 repeti-
tive 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
 76 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 semitonally-
sharpened seventh degree. In the appendix, the modes are represented by letters
as follows: F: Lydian;C:Ionian;G:Mixolydian;D: Dorian;A: Aeolian; E:Phrygian;
B: Locrian;H: 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 repeti-
tion of the pattern includes an added note. The benefits of claritycan particularly
be observed with those patterns conventionally considered either majoror minor,
but with flattened seventh chord degree - they appear here as straightforwardly
Mixolydian and Aeolian. Moreover, the identification of Phrygian and Lydian
modes prevents the apparent obscurity associated with bII and #IV. There is
nothing untoward in these functions.
The signs I have adopted for tetrachords derive from jazz theory (see e.g.
Mehegan 1959). Reading from a root C: augmented seventh (CEG#B)is represen-
ted by +; majorseventh (CEGB)by M; minor seventh large (CEbGB)by '; dominant
seventh (CEGBb)by x; minor seventh (CEbGBb)by m; half-diminished seventh
(CEbGbBb)by 0;diminished seventh (CEbF#A)by °. Chords superscriptedby 4, 6 or
7 are strictmodal additions of these scale-degreesto triads;superscriptOfT refersto
an added sharpened fourth. I have also used superscriptsto modify triad quality
from that expected within the mode, as follows: majoris representedby '; minor by
-; augmented by ";diminished by =. In relation to jazz theory, it should be noted
that common jazz substitutions (such as bIIfor V) have not been found. Substitu-
tions 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 cross-
referenced 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 know-
ledgeable listener (myself). If criticism is to be levelled here, it must be on the
grounds that the listing may be considered incomplete.
Sheet music treats all chords as functionally equivalent, by specifying their
names 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 hierarch-
ies 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 hier-
archicalrelationshipsexist, and these clearlymust be predicatedon the identifica-
tion of a tonic. In classicaltonal theory, pitch-collection(i.e. the identificationof the
major/minorscale in operation at any particularpoint) is the most commonly
invoked criterion.But within a modal system, because the choice of tonic degree is
arbitrary,such evidence is valueless. On what grounds can it then be decided that
a particularharmonywithin a patternis acting as a local tonic?(Throughout,I have
identified the tonic of a pattern,not necessarily that of the song, since many songs
modulate between modes.) The criteriathat seem to operateare essentially those of
metric, rhythmic and accentualmodes of stress as developed by JonathanKramer
(1988). Simply put, a tonic is likely to persist longer than temporally adjacent
chords, is likely to begin or end a pattern (particularlycoinciding with structural
divisions in the lyrics), and is likely to receive an attackmore emphasised (whether
by simple accent, or by change of timbre or density) than that of its temporal
neighbours. A difficultapplicationof this technique is well exemplified by Simple
Minds' 'Soul Crying Out' (from StreetFightingYears).Two alternative readings
seem possible, either an Ionian IV-VI-V(which initially appears as V-IV-VI),or a
Mixolydian VII-II-I.The first reading is of a strong preparationfor a tonic, and
would presumably find support among those with 'classical'ears. However, the I
which it prepares occurs only ever in passing as part of the extended 'bridge'
sequence, preceded by IV, and it is therefore not used as a point of arrival.
Therefore,the second reading seems preferable.
A second problem is caused by the frequent use of the double appoggiatura
and neighbour-notes, and can best be explored by way of examples. At the sim-
plest 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
 n
ot Ab J;ns
$s""gssssst # I $1
;1;;1
2<wz | n 7Szla , I 8s J J sS&JD
tt F¢;>ioUS
I v tt 8}
. _ _ I JZ n $ J s 0_X11l ;A
. K

78 Allan Moore

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

Voice
here I go a-gain_ how can I re-sist ya
Ma-maml-a does it showa-gain_ My my ?just
(
howmuchI miss'dya

Backing
vocal

Piano Xz > z Iz Z ;! X 1ixZ X lZ Z b

(absenttill 3rdrefrain) (vanesslightly)
Bass s #U s x z l"z Z tx l Z Z Z X 1

(Xylophone omitted)
Example 1

Voice X #¢ ; ' ir '-J XJ; ;+; $ 8;4 b I J J -: r ; 2 I ;

I'vebeen lo - nely for so long Don'tseemlilce hap-pi-ness willcome a - long

Backing
vocal

Principle
Guitar
function
j$g"*8 1s - 17=li^- IY
Bass
=1
X $"$ 1$ f YS Iy
(Minuteintonational inflections, second guitar and kit omitted)
Example 2
 Patterns of harmony 79

A third problem arises from the assumption that the functional unit
throughout is the 'triad'. There are necessary limits to this assumption, which
again can be best illustratedthrough examples. Cream's 'Sunshine of Your Love'
represents the archetypalrock riff. It is used, however, to clearly outline a simple
Dorian I-IV-I,forming the first eight bars of a twelve-barblues pattern. The chords
here are implicit, but nonetheless present. Thin Lizzy's 'Killer on the Loose'
presents more of a problem, since some degree of triadicinferenceis necessary. As
Example3 shows, both guitar and bass outline a MixolydianI-VII-VI,but the only
confirmation is provided by an upper guitar pitch which appears considerably
softer (and weaker). It seems to me that a triadicinferenceis justifiedhere, but only
just.

Guitar
D $
(; .; )
D ' t t <
X " * Guitar ! !

Bass p ""t ^ @ _ Guitar j S ltt) g g g g

Example3
Bass ) * ^ ff '

Example4

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
. .

c ilmenslon.

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- incorpor-
ates variants on the common 'Stand by me' changes. Again, mediant moves are
often mixed with other intervals, and also occur as alternations. Here, patterns
80 Allan Moore

which 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 'dis-
tance' 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 common-
practicetonality (Keiler1981;Lerdahland Jackendoff1983).Middletonhas recently
pursued this matter, directly applying Steedman's transformationalrules (Steed-
man 1984), and suggesting that all such transformationalgrammarsmay depend
on the deepest principle, 'that of tonic/not-tonicdifferentiation'(Middleton 1990,
p. 198). That may be so, and it would be valuable to try to apply it to the data
gathered here. None the less, I feel that for rock at least, the rules of substitution
would necessarily differ. It seems likely that rock sequences could be generated
from fifth-cyclesby (recursive)substitution of modal mediant-relatedchords and
elisions of consecutive cyclic steps. Three simple examples can show this deriva-
tion. The 'Standby me' changes (sub-groupDBA) generates I-VI-IV-Vfrom I-I-IV-
V through substitutionof VI for I. Sub-groupCBGgenerates I-II-IV-Ifrom I-VII-IV-
I through substitution of II for VII. Less simply, sub-group DBI generates I-VI-III-
VIIfrom I-I-V-VII-IV through the substitution of VI for I and the elision of VII-IV-I
to VII-I.
This can also be pursued with relation to a more complex example: those
patterns found in Def Leppard's 'Love Bites' (from Hysteria). Three patterns are
employed: Ionian VI-II-Vll-I9for the verse, and Ionian I-IV-II-Vand Aeolian I-VI-
IV7-VIIfor the refrain. These patterns undergo relative transposition, to yield the
sequence: d-g-C-F-(repeated)-Eb-Ab-F-Bb- (repeated)-C-Ab-F-Bb-(repeated)-d-g-
etc. (where lower case representsminor triad).The first patternis simply cyclic, the
second is cyclic startingfrom its midpoint, such that its naturebecomes clearas it is
repeated, while the third is a transformationof the cyclicV-V-I-IV.The patternsare
joined by elisions, such that transferringthem to a single frameof reference(letting
I = F) yields:
VI-II-V-I-VII-III-I-IV -V-III-I-IV,
derived from a cycle of fifths, i.e.:
I-IV.
VI-II-V-I(-IV)-VII-III-I-IV(-II)-V-
It may be surmised that such elisions may be most common where separate pat-
terns are conjoined. Of course, much further work 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
 Patternsof harmony 81

hierarchicalinterpretation.The data published in the appendix should enable any

such generative theory to be developed from a solid base. Any theory which took
generative tonality as a model would seem immediately doomed to failure since
rock;/pop/soulmusic is formally strophic, and hence cyclic (we must return to the
same chord with which we begin each verse) whereas classical tonality by its
nature supports linearity. Moreover, to follow Schenker (1979), classical tonality
tends towards polyphony, whereas rock/pop/soultends to conceive its harmonies
as indivisible units rarely subject to voice-leading principles.
And yet, the fact that such a study as this has not appeared sooner might
suggest that perception, and even conception, frequentlygoes no furtherthan the
stringing together of a series of discrete harmonies, particularlyoft-used suc-
cessions 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 assump-
tion which is probablymisplaced with all primarilystudio genres, the errorof this
belief lies in the concentrationon pitch entities ratherthan relationships.The initial
results from my survey suggest two seemingly paradoxical,but vital conclusions.
Contraryto received opinion, there is a great variety of harmonic patterns used
along the rock/pop/soulcontinuum (with a range at least as wide as that found in
the foregrounds of common-practicetonality, although there they are not subject
to the same tendency to continual repetition). This is not a music of limited
resources, where everything potentially sounds like everything else. And yet,
there seems to be no unambiguous harmonicdifferentiationbetween these styles,
and so there are cleargrounds for arguing that there is a singleharmoniclanguagefor
rock/pop/soul which, in turn, may serve to differentiate this music from jazz-
derived 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)
82 AllanMoore
References
Adorno, TheodorW. 1941. 'On popular music', Studiesin Philosophy and SocialSciences,9
Burns, Gary. 1987. 'A typology of "hooks"in popularrecords',PopularMusic,6/1
Cook, Nicholas. 1989. 'Musictheory and "good comparison":a Viennese perspective',Journalof Music
Theory,33/1
Keiler,Alan. 1981.'Twoviews of musicalsemiotics'in TheSigninMusicandLiterature, ed. WendySteiner,
1981(Texas)
Kramer,Jonathan.1988. TheTimeof Music(Collier-Macmillan)
Lerdahl,Fred & Jackendoff,Ray. 1983. A Generative Theoryof TonalMusic(Massachusetts)
Mehegan, John. 1959.JazzImprovisation (Watson-Guptill)
Middleton, Richard.1990. StudyingPopularMusic(Open UniversityPress)
Moore, Allan. 1990. On the Late ChamberWorksof RobertoGerhard,Ph.D. thesis, University of
Southampton
Nettl, Bruno. 1985. TheWesternImpacton WorldMusic(Schirmer)
Perlman,Alan & Greenblatt,Daniel. 1981. 'Miles Davis meets Noam Chomsky:some observationson
jazz improvisationand language structure'in TheSign in MusicandLiterature, ed. Wendy Steiner,
1981 (Texas)
Schenker,Heinrich. 1979. DerfreieSatz(trans. and ed. ErnstOster), (Massachusetts)
Society,
of theAmericanPhilosophical
Simon, Herbert.1962. 'The architectureof complexity',Proceedings
106
Steedman, Mark.1984. 'A generativegrammarfor jazz chord sequences', MusicPsychology,2/1

Appendix
Generalkey
Modes: F: Lydian;C: Ionian;G:Mixolydian;D: Dorian;A: Aeolian; E: Phrygian;B:
Locrian;H: Harmonicminor;X: Chromatic
Modificationsof triad quality:Major';Minor-; Augmented";Diminished=
Intrinsicnon-triads:
Strictmodal additions/suspensions:4; 6; 7
Chromaticsuspensions: #4T
Chromaticadded sevenths as per jazz theory i.e.
Aug+; MajM;Min large; DomX;Minm;Half dim0;Dim°
Note that III/V;V/VII;VII/II;II/IV;and IV/VIare frequentlyinterchangeablewithin
repetitions of the same pattern. Occasionally,VI/I,I/IIIand II/Vare found too.
Jazz substitutions (e.g. bIIfor V) are exceedingly rare.
Letters in bracketsafter a sequence indicates a cross-referenceto a closely related
pattern.
The alphabeticcode (extremeleft-hand side) is explained in the text.

ClassA: Staticharmony
AAa. F: Solo LedZeppelin:Dancing days; MahavishnuOrchestra: Sister Andrea
AAb. G:Solo DerekS Dominos:Tell the truth;Move:Omnibus;PinkFloyd:Obscured
by clouds; JohnnyWinter:Funky music
AAc. A: Solo Doors:Riders on the storm; EchoS Bunnymen:Higher hell; Fleetwood
Mac:Gold dust woman; limi Hendrix:Spanish castle magic;Voodoo chile;King
Crimson:Requiem; Plastic Ono Band: Cold Turkey; Roxy Music: Stronger
through the years; Santana:La fuente del ritmo; UriahHeep:Gypsy
ABa. C: Verse Elvis Costello:Big boys; Living in paradise;PeterGabriel:Rhythm of
the heat; TalkingHeads:Moon rocks;Swamp
 Patternsof harmony 83

ABb. G: Verse CreedenceClearwaterRevival:Commotion; Def Leppard:Pour some

sugar on me; Doors:Roadhouse blues; EchoS Bunnymen:Heads will roll; Led
Zeppelin:Celebrationday; Nazareth:My white bicycle; U2:Wine
ABc. D: Verse Beatles:Love you too; Big Country:The seer; EricClapton:Get ready;
Creedence ClearwaterRevival:Run through the jungle; MarvinGaye:Right on;
IcicleWorks:Everybodyloves to play the fool; Level42: Coup d'etat;SteveMiller
band:Out of the night; PinkFloyd:Money; SimpleMinds:Carefulin career
ABd. A: Verse Doors:L. A. woman; Not to touch the earth; EchoS Bunnymen:
Ripeness; FleetwoodMac:Green Manalishi;Oh well; JuicyLucy:Who do you
love; KingCrimson:21st century schizoid man; LedZeppelin:No quarter;Steve
Millerband:Fly like an eagle; RoxyMusic:The bogus man; SamS Dave:Soul
man; SimpleMinds:League of nations; RutusThomas:Funky chicken; Talking
Heads:Girlfriendis better;Slipperypeople
AC. G:RefrainTalkingHeads:Take me to the river
AD. A: RefrainBeatles:All you need is love; TalkingHeads:I get wild/wild gravity
BA. C: 3 steps desc.(DABa)Kinks:Well-respectedman; Santana:All the love of the
universe
BB. C:4 steps desc.(FAJa)Beatles:Forno one; Kinks:Sunny afternoon;MeatLoaf:Bat
Picturesof Lily
out of hell; Mott theHoople:All the young dudes; W710:
BC. G:4 steps desc. Sparks:This town ain't big enough
BD. C: 5 steps desc. Abba:One of us; Band:The weight; Beatles:Hello goodbye;
MoodyBlues:Go now; Tearsfor Fears:Seeds of love
BE. C: 6 steps desc. IohnLennon:Mind games
BF. C:7 steps desc. ElvisCostello:Oliver'sarmy;ProcolHarum:Whitershade of pale
BG. X: 5 steps desc. LedZeppelin:Stairwayto heaven
BH. X: 6 steps desc. PinkFloyd:Wots . . . uh the deal
CA. D: I7-I6Level42: World machine

ClassB: Stepwisedescendingharmony
Foundations:
AA. C: I-IX-IV-IV--I-II'-IV-V Baby now that I've found you
AB. A: I-Im-VI-VFourTops:Standing in the shadows of love
TopoD. Bil:Witchitai to
AC. C: I-IX-VI-IV-II4-V
Supremes:
AD. C: I-IX-VI'-II Babylove
Afterthefire:Laserlove
AE. A: I'-IX-#VI--VI-VII-III-V'-I
BAa. G: I-VIIBangles:Tell me; David Bowie:Fashion;Golden years; Scarymonsters;
Win;EricClapton:Let it rain;Lonesome & a long way fromhome; Doors:Break
on through; Hello I love you; The Fall: Gut of the quantifier; Gerry S
Pacemakers:Ferrycross the Mersey;lam:All around the world;JethroTull:Old
ghosts; LedZeppelin:Achilles last stand; Madness:Keep moving; GaryMoore:
Law of the jungle; Shapes of things; R.E.O. Speedwagon: Movin'; SiouxsieS
Banshees:Hong Kong garden; StoneRoses:She bangs the drums; Supertramp:
Dreamer; T'Pau:Taking time out; TalkingHeads:Burning down the house;
Making flippy floppy; UriahHeep:Dreammare;Van Halen:Dancing in the
street; Where have all the good times gone?; W7zo: My generation; Wishbone
Ash:Blowin' free;Time was; StevieWonder: Uptight
BAb. A: I-VII(CJAb)BarclayJamesHarvest:Medicine man; EricBurdon:When I was
young; DeaconBlue:One hundred things; EchoS Bunnymen:Higher hell; In
bluer skies; FleetwoodMac: Isn't it midnight; lethro Tull: Flying dutchman;
84 AllanMoore

Kinks: Till the end of the day; Mission: Wasteland;Roxy Music: Sea breezes;
Santana:Every step of the way; R. Dean Taylor:Gotta see Jane; U2: Bullet the
blue sky
BAc. E: I-VIIDoors:Not to touch the earth;EchoS Bunnymen:Porcupine;Pink Floyd:
Hey you
BBa.G:I-:VII'-VII-VI'WeddingPresent: Getting nowhere fast
BBb.G:I-#VII-VII-IV AutomaticMan: My pearl
BC. G:I-VII-III'JethroTull: Batteriesnot included
BDa. G:I-VII-VIMission: Stay with me; Toyah:Birdin flight;Johnny Winter:Nothing
left
BDb. A: I-VII-VIAll About Eve: December;Tuesday's child; BarclayJames Harvest:
Forno one; Mockingbird;Summersoldier;Big Country:East of Eden;Flameof
the west; David Bowie:Ziggy Stardust;Blue Oyster Cult: Don't fear the reaper;
Phil Collins: Another day in paradise;In the air tonight; Elvis Costello:I don't
want to go to Chelsea;FleetwoodMac: Big love; Tango in the night; You make
loving fun; Peter Gabriel: Down the dolce vita; Jimi Hendrix: All along the
watchtower; Level 42: I sleep on my heart; Mission: Love me to death;
Severina;Gary Moore:Hiroshima;Chris Rea: You must be evil; Slade:Shape of
things to come; Thin Lizzy: Don't believe a word; Toto: Angela; Uriah Heep:
Come away Melinda; WishboneAsh: Sometime world
BDc. E:I-VII-VIIsaac Hayes: Theme from 'Shaft'
BDd. A: I'-VII-VIBoomtownRats: The normal people; Madness: Samantha;Motor-
head:Overkill;Supremes:You keep me hanging on
BEa.A: I-VII-VI-VBarclayJamesHarvest:After the day; Peter Gabriel:Games without
frontiers;Al Stewart:Broadwayhotel
BEb.A: I'-VII-VI-V'Four Tops:Bernadette;Ventures:Walk don't run
BEc. G: I-VII-VI-V'Pink Floyd: Matildamother; Uriah Heep: Circleof hands; Vapors:
Waitingfor the weekend
BEd.A: I-VII-VI-V'HerbAlpert:Jerusalem;Animals: Don't let me be misunderstood;
Beatles:I'llbe back;David Bowie:Moonage daydream;Ray Charles:Hit the road
Jack;Louis Jordan:Is you is or is you ain't my baby; Gary Moore: Hold on to
love; Gene Pitney: Something's gotten hold of my heart;Roxy Music: If there is
something; Del Shannon:Runaway;Status Quo:Gerdundula;Stone Roses:Made
of stone; Supremes:Love child; Turtles:Happy together;Zager S Evans: In the
year 2525
BEe. E: I-VII-VI-V'Stevie Wonder:Jesus children of America
BEf. G:I-VII-VI-bVI'-V'Madness: VictoriaGardens
BEg. A: I'-VII-VI-V'Who:Pinballwizard
BEh. C: I-VII--VI-V-IV-III-II-VFine Young Cannibals:As hard as it is
BF. D: I-VII-VI--#VIIJam:Beat surrender
BGa. A: I-VII-VI-IVEagles:One of these nights; Mission: Deliverance
BGb. G:I-VII-VI-IV-V' OrchestralManoeurres:Dreaming
BH. A: I-VII-VI-III-V'Derek S Dominos: Why does love got to be so sad
Moody Blues: Nights in white satin
BI. E: I-VII'-VI-III-II-I
BJa.G:I-VII-V'Elvis Costello:Moods for moderns; Roxy Music: Editions of you
BJb.A: I-VII-V'Elvis Costello:I'm not angry
BJc.H: I-VII'-VRoxy Music: Chance meeting
BKa.D: I-VII-bV'-VI'Toyah:Triballook
BKb. G:I-VII-V'-VI' David Bowie:Red sails
 Patterns ofharmony 85

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

Class C: Stepwiseascending harmony

AA. C: I°-IPeter Hammill: Sunshine
AB. E: I-I/-Im-I6-II
Stevie Wonder:Golden lady
ACa. C:I-I"-VI-I" Crickets:Don't ever change
ACb. C:I-I''-VI-IX-IV David Bowie:Never let me down; LedZeppelin:The rain song
BAa. F: I-II FleetwoodMac: Dreams; Mission: Let sleeping dogs lie; Stevie
Wonder:
Don't you worry 'bout a thing
BAb. C:I-IIDeacon Blue:Silhouette;Madness:In the rain;Wham:Wakeme up
before
you go-go
BAc. D: I-IIStevie Wonder:Visions
BAd. E: I-IIMadness: Are you coming; Shadow of fear;Pink Floyd: The trial;
Talking
Heads: I get wild/wild gravity
BAe. A: I-II°Specials:Ghost town
BAf. E: I'-IIJeffersonAirplane:White rabbit
BAg. B: I'-IIDavid Bowie:Yassassin
BAh. F: I-II-II0Beatles:I want to tell you
BAi. G:I-II'-II-IV--V'ElectricLight Orchestra:Turn to stone
BB. F: I-II-III'W71O: See me feel me
BCa. E: I-II-III-IIVan Morrison: Who was that masked man; Toyah:Victims of
the
riddle
BCb. C:I-II-III-II-IV Beatles:I'm only sleeping
BDa. C:I-II-III-IV Beatles:Here there & everywhere
BDb. D: I-II-III-IV Deacon Blue: The world is lit by lightning
BDc. F: I-II--III-IV-Stevie Wonder:Golden lady
BDd. E: I'-II-III-IV'Van der GraafGenerator:Darkness
BDe. C:I-II-III-IV-V Band:I shall be released
BDf. C: I-II-III-VOrchestralManoeurres:Dreaming;Pink Floyd:In the flesh?
BEa.C: I-II'-III'-VI-IV-V-I Isley Brothers:Put yourself in my place
BEb.A: I-II'-#III'-VIIMotorhead:Metropolis
BFa.C:I-II-IVThin Lizzy: The boys are back in town
BF7b. A: I-II'-IVMove: BlackberryWay
BGa.C: I-II-IV-IBeatles: And your bird can sing; Genesis: Your own special
way;
GeorgeHarrison:All things must pass; Rod Stewart:Maggie May
BGb.D: I-II-IV-ISantana:Just in time to see the sun
BGc.C: I-II'-IV-IBeatles: Eight days a week; Eric Clapton: Another ticket;
George
Harrison:Isn't a pity; Let it down; Jam:Butterflycollector;English rose; Move:
Brontosaurus;Pink Floyd:Braindamage;ProcolHarum:Homburg;Roxy Music:
Beautyqueen; Vapors:Trains;Van der GraafGenerator:Whateverwould Robert
have said?
BGd.C: I-II'-IV--IMarvin Gaye S TammiTerrell:You'reall I need to get by
BHa.C: I-II-IV-VBe-BopDeluxe: Ships in the night; David Bowie:Young
Americans;
Jam: Away from the numbers; Billy Joel: Leningrad;Maria McKee: Show
me
heaven; XTC: Sacrificialbonfire
BHb.C: I-II'-IV-VTalkingHeads:The big country
BHc.C: I-II'-IV-V-IBonzo Dog Band: I'm the urban spaceman; Eric Burdon:Its
my
life; Eric Clapton: Lovin' you lovin' me; Eguals: Viva Bobby Joe; Roxy Music:
Would you believe?; Vapors:Cold war
BI.E: I'-II-IV'-VII'-bV'-VI Pink Floyd:LuciferSam
 Patternsof harmony 87

BJ.F: I-II-V-IByrds:Mr Spaceman

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

'in' crowd; FleetwoodMac: Family Man; LedZeppelin:Hots on for nowhere;

SteveMiller band:Shangri-La;NashvilleTeens:Tobacco Road; T'Pau:Taking
time out
JAb. A: VII-I(BBAb)EmersonLakeS Palmer:Touch & go; FairportConvention:Matty
Groves; PeterGabriel:Shock the monkey; JethroTull:WorkingJohn working
Joe; King Crimson:21st century schizoid man; LedZeppelin:Immigrantsong;
GaryMoore:Nuclear attack;ChrisRea:You must be evil; RoxyMusic:For your
pleasure
JAc. C:VII'-I-JimiHendrix:One rainy wish
JAd. G:VII--IMadness:New Delhi

ClassD: Submediant
sequences
AAa. A: I-bI'-VI-RoxyMusic:Chance meeting
AAb. C: I-M-VIGeorgeHarrison:Balladof Sir FrankieCrisp
AAc. A: I'-IX-VI-V'PinkFloyd:Eclipse
ABa. C: I-VI BoomtownRats:Living in an island; Elvis Costello:Miracleman; You
belong to me; DerekS Dominos:Why does love got to be so sad; George
Harrison:Awaiting on you all; My sweet lord; BuddyHolly:Maybe baby;Jam:
When you're young; John Lennon:Instant karma!;Little Eva: Locomotion;
Melanie:Ring the living bell; SteveMillerband:Bongo bongo; Monkees:Goin'
down; Searchers: Don't throw your love away; Paul Simon:Slip slidin' away;
SmallFaces:Itchycoo Park;Theymightbegiants:Sapphirebullets of pure love;
Vapors:TurningJapanese
ABb. A: I-VI Beatles:Eleanor Rigby; BoomtownRats: Can't stop; Like clockwork;
Living in an island; Rat trap; Cure:Love cats; ThaFall:My new house; Fleet-
woodMac: 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 cen-
tury; U2:Exit;Vapors:Bunkers;Wishbone Ash:Warrior
ABc. E: I-VI U2:Indian summer sky
ABd.D: I-VImDoors:Light my fire
ABe. A: I-VIMOliviaNewton-John: Let's get physical;ProcolHarum:Conquistador
ABf. A: I-VI- KingCrimson:Heartbeat
ABg. A: I'-VI DavidBowie:Suffragettecity; Family:In my own time; LedZeppelin:
Candy store rock;TransvisionVamp:Down on you
AC. G: I-VI-VII-VJam:Absolute beginners;Level42: Something about you
ADa. C:I-VI-VII-IVThompsonTwins:Hold me now
ADb. A: I-VI-VII-IV Police:Message in a bottle; SimpleMinds:Take a step back
AE. A: I-VI-VII-III
Smiths:Still ill
AF. C: I-VI-bVI-IVRoxyMusic:Ain't that so
AGa. C: I-VI-VBig Country:Tall ships go; ElvisCostello:Hand in hand; Lip service;
Foundations: Born to live & born to die; BuddyHolly:Maybe baby; Orchestral
Manoeurres: So in love; ThinLizzy:Wild one; Vapors:Waitingfor the weekend
AGb. A: I'-VIX-V' BillyJoel:Stormfront
AGc. H: I-VI-VPeterGabriel:No self control;PeterHammill:Sunshine; GeorgeHar-
rison:Art of dying; Jam:Precious;Madness:Mr Speaker gets the word; Chris
Rea:I just want to be with you; Toto:Takin'it back
 Patternsof harmony 89

AH. A: I'-VI-V'-VII-bV'-IV' Madness;MichaelCaine

AI. C: I-VI-V-VIClash:Something about England
AJa. C: I-VI-V-IVFineYoungCannibals: Tell me what
AJb. C:I-VI-V"-IV PinkFloyd:Us & them
AK. F: I-VI'-V-IIBeatles:Dr Robert
AL. A: I-VI-IVAbba:Voulez-vous; JethroTull:Rock island; GaryMoore:Hiroshima;
Neil Young:Southern man
AMa. G:I-VI-IV-VII Jam:That's entertainment
AMb. A: I-VI-IV-VIIBangles:He's got a secret;Def Leppard: Love bites; GaryMoore:
Run to your mama
ANa. C:I-VI-IV-VII Mission:And the dance goes on; TalkingHeads:This must be the
place
ANb. A: I-VI-IV'-VII-V'Blondie:Atomic
BAa. C:I-VI-IV-V(FDD&IADa)Abba:Mamamia;PaulAnka:Diana;Arrival:Friends;
Beatles:Any time at all;I should have known better;BeautifulSouth:I'll sail this
ship alone; Song for whoever; BonJovi:I'llbe there for you; Ride cowboy ride;
DavidBowie:Ashes to ashes; Cygnet committee;JamesBrown:Try me; Johnny
Burnette:Dreamin';ElvisCostello:The beat; Creedence Revival:Lodi;
Clearwater
DeaconBlue:Circus lights; Love & regret;Diamonds:Little darling;FourTops:
Walk away Renee; MarvinGaye:Mercy mercy me; What's going on; Gentle
Giant:No stranger;GerryS Pacemakers: I like it; GeorgeHarrison:Run of the
mill; WhitneyHouston:I wanna dance with somebody;IsleyBrothers: I guess I'll
always love you; Jam:In the city; Man in the cornershop; Strangetown; Billy
Joel:Stormfront;BenE. King:Stand by me; LedZeppelin:D'yer mak'er;Frankie
Lymon:I'm not a juvenile delinquent;Why do fools fall in love; MeatLoaf:For
crying out loud; Nazareth:Love hurts;Orchestral Manoeurres:EnolaGay;If you
leave; PinkFloyd:The thin ice; Elvis Presley:Return to sender; Pretenders: So
special;Queen:Somebody to love; RighteousBrothers: Unchained melody; Roxy
Music:Bitters end; Dance away; Del Shannon:Runaway; SimonS Garfunkel:
Mrs Robinson;Theymightbegiants:Luckyball & chain; TinaTurner:The best;
VanHalen:Prettywoman; BobbyVee:Rubberball;Take good care of my baby;
MartyWilde:Donna; StevieWonder: I'm wondering
BAb. A: I-VI-IV-VGaryMoore:Rest in peace
BAc. A: I-VI-IV-V'All AboutEve:Dream now
Mission:Butterflyon a wheel; SpandauBallet:True
BBa. C: I-VI-IV-III
BBb.C: I-VI-IV-III EmersonLakeS Palmer:Lay down your guns
BBc. C:IbVI-IV-III AdamS Ants:Ant music
BC. C: I-VI-IV-II-VBeachBoys:Darlin';ElectricLightOrchestra: Wild west hero; Peter
Gabriel:SolsburyHill
BDa. C: I-VI-IV-IDavidBowie:Oh you pretty things; Soul love; EricClapton:Let it
grow; Creedence Clearwater Revival:Lookingout my back door;RoxyMusic:Sea
breezes; RodStewart:Sailing;ThinLizzy:Whisky in the jar;Vapors:Letterfrom
Hiro
BDb. A: I-VI-IV-IElvisCostello:Lipstickvogue
BDc. C: I-VI-IV--I-VBeatles:Any time at all
BE. A: I-VI-III-VIBig Country:The teacher
BFa. C: I-VI-III-VBeatles:She loves you; DavidBowie:Starman;Family:No mule's
fool
BFb.A: I-VI-III-VAliceCooper:Poison
90 AllanMoore
BFc. C: I-VI-III'-VDavidBowie:Prettieststar
BG. C: I-VI-III-IV-VTinaTurner:I don't wanna lose you
BH. E:I"-VI-III-II-I-V--V'
BarclayJamesHarvest:Summersoldier
BI. A: I-VI-III-VII(HHA) BeautifulSouth:From under the covers; EmersonLakeS
Powell:Love blind; OrchestralManoeurres:Electricity
BJ.E: I-VIT-IIT
LedZeppelin:No quarter
BKa.C: I-VI-II'-IVDavidBowie:Five years
BKb.C: I-VI'-II'-IVGeorgeHarrison:I dig love
CA. A: I-VI-IV-III-VIIProcolHarum:The milk of human kindness
DA. E:VI-V--II-IFleetwood Mac:Mystified
DB. G: bVI-V-I-IV(FAN) ElectricLightOrchestra:The whale
EA. A: VI-IV-VII-I(FGA)Big Country:Just a shadow
EB. A: VI-IV-I-V(FAHb)EricClapton:Hold me Lord
ECa. C: VI-IV-IMeters:Pocky-a-way;Police:Truth hits everybody; SimpleMinds:
The American
ECb. A: VI-IV-IBarclayJamesHarvest:Paper wings; BobDylan:Slow train coming
FA. C:VI-III'-V-IProcolHarum:Ramblingon
GA. C:VI-I-V-IVBig Country:Hold the heart
GB. A: VI-I-II-III
Nik Kershaw:City of angels
GCa. C: VI-IBig Country:Fields of fire
GCb. A: VI-I Big Country:Look away; PeterGabriel:I have the touch; SteveMiller
band:Italian X-Rays;Mission:Garden of delight; TalkingHeads:Pull up the
roots
GCc. C:VI'-IDavidBowie:Rock'n' roll suicide
GCd. A: VIT-IPeterHammill:Solitude
GCe. A: VI-I'GeorgeHarrison:Let it down

ClassE:Mediantsequences
AAa. F: I-IIIBarclayJamesHarvest:She said
AAb. A: I-IIIEchoS Bunnymen:Ripeness;PinkFloyd:Pow R. Toc H.; Smiths:Pretty
girls make graves; StapleSingers:Respect yourself; UriahHeep:Easy living
AAc. C: I-III'Bangles:More than meets the eye
AAd. A: I'-IIITalkingHeads:Take me to the river;UriahHeep:Paradise
ABa.C:I-III-I-IV-V ElvisCostello:Red shoes
ABb.C: I-III'-I-IVSmallFaces:ItchycooPark
ACa.G:I-III'-II'-II-V'-VII
GeorgeHarrison:Wah wah
ACb.A: I-III-II'-bII'
Madness:Time for tea
ADa.D: I-III-II-IVRoxyMusic:In every dreamhomea heartache;Wishbone Ash:The
king will come
ADb.D: I-III-II'-IVGaryMoore:Murderin the skies
ADc.F: I-III'-II-VBeautifulSouth:I love you (but you're boring)
AEa.C: I-III-IVDavidBowie:Rock 'n' roll with me; Icicle Works:Sweet Thursday;
Move:BlackberryWay
AEb.D: I-III-IVBookerT S MGs:Green onions; EricClapton:After midnight;Jimi
Hendrix:Waituntil tomorrow;Mission:Sacrilege;Queen:Another one bites the
dust; StevieWonder: Higher ground; Z.Z. Top:La grange
AEc.A: I-III-IVSmiths:What difference does it make?; Supertramp: Bloody well
right; Wishbone Ash:Leaf & stream
 Patternsof harmony 91

AEd. D: I'-III-IVJeffBeck:Beck's bolero; CannedHeat:On the road again; BillyJoel:

That's not her style; LedZeppelin:Bron-y-aurstomp; Candy store rock; Chris
Rea:Your warm & tender love; TinaTurner:Steamy windows; JohnnyWinter:
Rock& roll hoochie koo
AFa. C:I-III-IV-IBand:The weight
AFb. C: I-III'-IV-IJohnnyBurnette:You're sixteen; PinkFloyd:Nobody home
AFc. C: I-III-IV-I-V Dexy'sMidnightRunners:Come on Eileen
AGa. C: I-III-IV-II Band:In a station
AGb. C: I-III'-IV-II'Otis Redding:Dock of the bay
AGc. D: I'-III-IV-II-IV-V' W/zo:I'm free
AH. D: I-III-IV-IV-Yardbirds: Foryour love
AIa. C:I-III-IV-V (GAHa&ICCa) Abba:Knowing me knowing you; BeachBoys:I can
hear music; DavidBowie:Ziggy Stardust;EricClapton:Easy now; ElvisCostello:
Oliver's army; Housemartins: Happy hour; Jam:Down in the tube station at
midnight; Going underground;ManfredMann:Just like a woman; Marmalade:
Babymake it soon; ThinLizzy:Waitingfor an alibi;TinaTurner:Be tender with
me baby
AIb. D: I-III-IV-V'Motorhead: Pay your price
AIc. A: I-III-IV-VDuranDuran:Save a prayer
AId. C: I-III'-IV-VJohnnyWinter:Ain't that a kindness
AIe. A: I-III-IV'-VBarclayJamesHarvest:Crazycity
AIf. A: I-III-IV'-bV'Madness:Baggy trousers
AIg. C:I-III'-IV-V-VI DavidBowie:Rock'n' roll suicide
AJa. A: I-III-IV'-VI(B) Animals:House of the rising sun; ElectricLightOrchestra:
Standin' in the rain;JohnnyWinter:Let the music play
AJb. D: I'-III-IV-VITalkingHeads:The good thing
AJc.A: I'-III-IV'-VI-VII-I' Beatles:I am the walrus;Meters:I need more time
AJd. A: I-III-IV'-VI-VII Cream:White room; Slade:Shape of things to come
AKa. C: I-III'-IV-VII'-I IcicleWorks:Travellingchess
AKb. D: I'-III-IV-VII-V' JimiHendrix:Ain't no telling
BA. A: I-III-VAbba:Gimme gimme gimme; Herman'sHermits:No milk today
BBa.A: I-III-V-IVFineYoungCannibals: Good thing
BBb.A: I-III-V-VISimpleMinds:Let it all come down
BC. C: I-III-VIBig Country:Flame of the west; CultureClub:Do you really want to
hurt me; JohnLennon:Instant karma!
BDa. C:I-III-VI-IX-IV-II-V Marmalade: Reflectionsof my life
BDb. C: I-III'-VI-IX-IV-IV--I(IPA)John Lennon:Woman is the nigger of the world
BDc. C: I-III'-VI-I-IV-V DerekS Dominos:Bell-bottomblues
BE. E:I-III-VI-II Beatles:Things we said today
BF.C:I-III-VI-III Berlin:Take my breath away
BGa.C:I-III-VI-IV IsleyBrothers: This old heartof mine;JimmyRuffin:Whatbecomes
of the brokenhearted
BGb. C: I-III'-VI-IVElectricLightOrchestra: Jungle
BGc. C: I-III'-VI'-IVTheymightbegiants:Road movie to Berlin
BGd. A: I-III-VI-IV' Neil Young:Southern man
BHa. C:I-III-VI-VFineYoungCannibals: It's ok; GeorgeHarrison:Awaiting on you all
BHb. A: I-III-VI-V'SiouxsieS Banshees: Happy house
BIa.A: I-III-VI-VII FleetwoodMac:Littlelies
BIb. G:I-III-VI-VII Toto:Rockmaker
92 Allan Moore
BJa.D: I-III-VIIWishboneAsh: The king will come
BJb.A: I-III-VIIDavid Bowie:Wild is the wind; Pink Floyd:Time;Supertramp:Bloody
well right
BJc.A: I'-III-VIIBoomtownRats: The normal people; Roxy Music: For your pleasure;
Re-make/re-model
BKa. A: I-III-VII-IBig Country: Lost patrol;Remembranceday; Dead S Alive: You
spin me round; Melanie:Stop I don't wanna hear it
BKb.A: I-III-VII-IM Steam:Nananana
BKc. A: I'-IIIM-VII-I'
Van der Graaf Generator:After the flood
BL. G: I-III-VII-II-V'
Fine Young Cannibals:I'm not the man I used to be
BM. A: I-III-VII-VIBon Jovi:Wild is the wind; GaryMoore:Murderin the skies
BN. G: I-III--VII-V'Kinks:Tiredof waiting for you
CAa. A: III-I'EchoS Bunnymen:Clay;Peter Gabriel:Not one of us
CAb. A: III4-I7
Phil Collins: Throughthese walls
DAa. A: III-IV-I'(FDC)T. Rex: Get it on
DAb. D: III-IV-I'Bob Dylan: Do right to me baby
DAc. A: III'-IV'-IPlastic Ono Band:Cold Turkey
EA. A: III-IV-I-VILevel42: Leaving me now
FAa. A: III-VI-IPink Floyd:Another brickin the wall
FAb. A: III-VI-I'Motorhead:Overkill
GAa. A: III-VII-I(HEA) Def Leppard:Rocket;Peter Hammill: The birds; Police: Rox-
anne; SimpleMinds: Mandeladay; Toyah:Danced
GAb. A: III-VII-I'Elvis Costello:Partygirl;Z.Z. Top:Heard it on the X
GB. G:III'-VII-V'-IBe-BopDeluxe: Like an old blues

Class F: Dominant sequences

Aa. F: I-V EmersonLakeS Powell: Learningto fly
Ab. C: I-V Elvis Costello:Two little Hitlers; Big Country: Rain dance; Shirley Brown:
Stay with me baby; Fleetwood Mac: Never going back again; Procol Harum:
Boredom;TransvisionVamp:The only one; WeddingPresent:All this & more;A
million miles; My favouritedress
AAc. G: I-V Don Covay: See saw; Echo S Bunnymen: Back of love; Mel S Kim:
Respectable;OrchestralManoeurres:Messages; U2:In God's country
AAd. A: I-V All About Eve:Dream now; BarclayJamesHarvest:She said; Big Country:
Lost patrol;Madness:Not home today; Tiptoes;Pink Floyd: Hey you
AAe. H: I-V Echo S Bunnymen:Porcupine;The Fall: Spoilt Victorianchild; Madness:
Take it or leave it; Turningblue; Motorhead:Stay clean; Rolling Stones: Paint it
black
AAf. C: I-V" ElectricLight Orchestra:Starlight
AAg. B: I--V Van Halen: Intruder
ABa. C: I-V-I Abba: Take a chance on me; Beatles: Yellow submarine; Creedence
ClearwaterRevival:Have you seen the rain;Up around the bend; Family:In my
own time; Jam:A bomb in WardourStreet;Rattles: Sunshine every day; Thin
Lizzy: Killeron the loose; W/zo:Happy Jack
ABb. H: I-V-IBob Dylan: Man gave names to all the animals; They might be giants:
Istanbul(not Constantinople)
ACa. A: I-V'-II-IV-VI-IV-V'-I Nik Kershaw:Roses
 Patterns of harmony 93

ACb.F: I-V-II-VMove: Yellow rainbow

ACc. C: I-V-II-VEagles: Tequila sunrise; Peter Hammill: Candle; T'Pau: Only the
lonely
ADa. A: I-V'-III-IV'-VI-VII Eric Clapton:Let it grow
ADb. A: I-V'-III-VIIMotorhead: Damage case
AEa. C: I-V-IV (HAE) Big Country: Chance; David Bowie: Queen Bitch; Ziggy
Stardust; Phil Collins: I wish it would rain; Def Leppard:Run riot; Derek 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
AFa. C: I-V-IV-II-VT'Pau: Only the lonely
AFb. A: I-V-IV-II-VLoveAffair:Everlastinglove
AG. D: I-V-IV-IIIGenesis:Blood on the rooftops
AHa. C: I-V-IV-VBeach Boys: God only knows; Beautiful South: From under the
covers;Woman in the wall; Big Country:I walk the hill; The sailor;Phil Collins:
It don't matter to me; FleetwoodMac: I don't want to know; GeorgeHarrison:
Apple scruffs; Jonathan King: Everyone's gone to the moon; Led Zeppelin:
Tangerine;Love Affair: Lincoln County; Madness: Marchof the gherkins;Vic-
toriaGardens;Mott the Hoople:Roll away the stone; Queen/DavidBowie:Under
pressure;T'Pau: Secret garden; Vapors:News at ten
AHb. A: I-V-IV-V(DEB)BeachBoys: Good vibrations;Phil Collins:This must be love;
Gentle Giant: Aspirations;Nik Kershaw:Wide boy
AI. C: I-V-VI-I(BD) CreedenceClearwaterRevival: Proud Mary; Stevie Wonder:He's
MisstraKnow-it-all
AJa. C: I-V-VI-I-IV-II-V (ABB)Elvis Costello:There's no action; Slade:Farfar away
AJb. C: I-V-VI-I-IV-V-I Madness: Disappear
AK. F: I-V-VI-II(B) Blondie:Atomic;Byrds:I'll feel a whole lot better
ALa. C:I-V-VI-III-IV XTC: Balletfor a rainy day
ALb. C: I-V-VI'-III-IV Gentle Giant: Cogs in cogs
AM. A: I-V'-VI-III'-VII Madness:Rise & fall
ANa. C: I-V-VI-IV(DDB) Big Country: The sailor; Creedence Clearwater Revival:
Someday never comes; Dire Straits:Romeo and Juliet;Billy Joel:Shameless;We
didn't start the fire; Bob Marley: No woman no cry; Paul McCartney:Figure of
eight;McGuinness Flint: When I'd dead and gone; Olivia Newton-John:Takeme
home country roads; Orchestral Manoeurres: Tesla girls; Police: So lonely;
Smiths:Reel around the fountain; Vapors:Somehow
ANb. E:I'-V'-VI-IV--II-V'-I Billy Joel:State of grace
ANc. C: I-V-VI-IV-VDerekS Dominos: Bell-bottomblues
AOa. C: I-V-VI-V(GBB)Leo Sayer:When I need you
AOb. A: I-VI-V-IV-VII-I Police: Roxanne
APa. A: I-V-VIILevel 42: Physical presence; Smiths: You've got everything now;
Thin Lizzy: Waitingfor an alibi; WishboneAsh: Warrior
APb. G:I-V'-VIIJimi Hendrix:If six was nine; Toto:Manuelarun
AQ. A: I'-V'-VII-IV-VII (BDB)Toto:Angela
AR. A: I'-V'-VII-VI Toyah: Race through space
BA. C:II-V-I-V(ILA) Kinks: Autumn almanac
BB. E:II--VII-V--I Jethro Tull: Crossfire
94 Allan Moore

DBa. C: IV-V-I(GAHa) Elvis Costello:This year's girl; Eagles:Take it to the limit;

Marvin Gaye S TammiTerrell:It takes two; Peter Gabriel:Kiss of life; Nik
Kershaw:You might; Nazareth:Broken down angel; OrchestralManoeurres:
Souvenir;PinkFloyd:Vera;ChrisRea:Tell me there's a heaven; Vapors:Waiting
for the weekend; JuniorWalker: How sweet it is; Who:I'm a boy; StevieWonder:
Living in the city
DBb. A: IV-V-I FleetwoodMac: Big love; Oh Daddy; David McWilliams:Days of
Pearly Spencer;Toto:Hold the line
DBc. A: IV-V-V'-IPaulMcCartney: Distractions
DC. C: IV-V-I-III'(EDAa)JohnLennon:Imagine
DD. C: IV-V-I-VI(DBAa) BarclayJamesHarvest:Galadriel;David Bowie:Ashes to
ashes; Creedence ClearwaterRevival:Have you ever seen the rain;KylieMinogue:
Turn it into love; R.E.O. Speedwagon:Son of a poor man; ChrisRea:Daytona
EAa. C: V-I Byrds:Turn! turn! turn!; DeepPurple:Into the fire; JohnLennon:Give
peace a chance; Pink Floyd:Chapter 24; R.E.O. Speedwagon: Whiskey night;
Z.Z. Top:Francine
EAb. A: V-I KateBush:Strangephenomena
EAc. H: V-I VanderGraafGenerator: White hammer
FA. C:V-VI-IRoxyMusic:Spin me round
FB. C:V-VI-IV-V-IBeachBoys:Breakaway
GA. A: VI-IV-V-I(DEA)Police:I can't stand losing you
GBa. C: VI-V-IBeautif7X1 South:You keep it all in; Fine YoungCannibals:
Don't let it
get you down
GBb.H: VI-V-IShockingBlue:Venus; TinaTurner:Undercoveragent for the blues
HA. G:VII-V-IJam:Smithers-Jones

ClassG: Subdominant
sequences
AAa. C: I-I--IVLedZeppelin:The rain song
AAb. C: I-I=-IVGeorgeHarrison:Isn't it a pity
AAc. C: I-IX-IV(B) Fleetwood Mac:Welcome to the room . . . Sara
AAd. C: I-IX-IV-IV- IcicleWorks:When you were mine
AAe. C: I-F-N GeorgeHarrison:Isn't it a pity
AAf. C: I-IM-IX-IV Phil Collins:Don't let him steal your heart away; ElectricLight
Orchestra: Steppin' out
AAg.C: I-IX-IV-I°-IGeorgeHarrison:I dig love
ABa. C: I-N Abba:Mama mia; Beatles:Lady Madonna; Revolution;Be-BopDeluxe:
Blazing apostles; Fair exchange; Like an old blues; Big Country:Angle Park;
Close action; BloodSweatS Tears:Hi-de-ho; Byrds:Chimes of freedom; Mr
Tambourineman; Eric Clapton:Motherless children; Dave ClarkFive:Bits &
pieces; Glad all over; Phil Collins:Like china; Elvis Costello:Pay it back;
Creedence Clearwater Revival:Hey tonight; DeaconBlue:Wages day; Your con-
stant heart; Def Leppard: Excitable;Donovan:Colours; EddieFloyd:Bring it on
home to me; ArethaFranklin:Respect;PeterGabriel:Biko;PeterHammill:Child;
Viking;Frederick Knight:I've been lonely for so long; JeanKnight:Mr. Big Stuff;
JohnLennon:Imagine;McGuinnessFlint:When I'm dead and gone; MeatLoaf:
You took the words right out of my mouth; SteveMillerband:Who do you
love; Nazareth:lthis flight tonight;JohnOtwayS WildWillyBarrett:Reallyfree;
WilsonPickett:In the midnight hour; PinkFloyd:In the flesh?;R.E.O. Speedwa-
 Patterns of harmony 95

gon:Find my fortune;Starta new life; LouReed:Walkon the wild side; Rolling

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

Your own choice; Queen:Now I'm here; R.E.O. Speedwagon: Without expres-
sion; RollingStones:Get off of my cloud; Theymightbegiants:Dead; Yourracist
friend; Smiths:The hand that rocks the cradle;T'Pau:Arms of love; Between
the lines; Heaven; Road to our dream; Running away; Time will tell; Terence
TrentD'Arby:If you let me stay; Vapors:Spring collection;SheilaWalsh:Don't
hide your heart; WeddingPresent:Getting nowhere fast; Who:Anyway any-
how anywhere; Neil Young:Only love can breakyour heart
AHb. l): I-TV-VlDead& Alive:You spin me round
AHc. A: I-IV-VPhil Collins:I missed again; KingCrimson:The night watch; Genesis:
All in a mouse's night; Level42: Dream crazy;Pet ShopBoys:West End girls
AHd. H: I-IV-VBeautifulSouth:Girlfriend;Madness:On the beat Pete
AHe. F: I-IV'-V10000volts:Totallyuseless
AHf. D: I-IV-V'Phil Collins:I'm not moving; RollingStones:Fool to cry
AIa. C: I-IV-V-IAbba:Waterloo;Big Country:Fields of fire; BonJovi:Love for sale;
Erasure:Drama;GladysKnight:Takeme in your arms;MeatLoaf:Forcrying out
loud; OrchestralManoeurres: Joan of Arc; PinkFloyd:Free four; Supremes:The
happening; TransvisionVamp:Born to be sold
AIb. A: I-IV-V-ISteveMillerband:Abracadabra
AJ. C: I-TV-V-TV Abba:The name of the game; BookerT & MGs:Soul limbo; Eddie
Cochran:C'mon everybody; ElectricLightOrchestra: Summer& lightning;Peter
Gabriel:Family snapshot; Orchestral Manoeuvres: If you leave; PinkFloyd:Stay;
Police:Bornin the 50s; BrianPoole:Game of love; Sandpipers: Hang on Sloopy;
Searchers: Sweets for my sweet; TransvisionVamp:Baby I don't care; Troggs:
Wild thing; UB40:Red red wine
AK. C:I-IV-V-VIBonJovi:Stickto your guns; StringDrivenThing:It's a game; T'Pau:
Island
AL. G:I-IV-V'-VIIJohnnyWinter:Guess I'll go away
AMa. A: I-IV-VI-IPaulMcCartney: We got married
AMb. A: I-IV'-VI-IDavidBowie:Andy Warhol;SteveMillerband:Fly like an eagle
AMc. A: I'-IV'-VI-I'Monkees:Goin' down
AN. C:I-IV-VI-II'Big Country:In a big country
AO. A: I-IV'-VI-III-VIIlDavidBowie:Suffragettecity
AP. C: I-IV-VI-IVBig Country:Inwards; Bob Dylan: Precious angel; Madness:
E.R.N.I.E.
AQa. C: I-IV-VI-VBig Country:Close action; Fine YoungCannibals:She drives me
crazy;KylieMinogue:Love at first sight
AQb . H: I-IV-VI-VChrisRea:The road to hell (pt.2)
AQc. G: I-IV-VI-V-VII Big Country:The great divide; BonJovi:Blood on blood; Phil
Collins:Behind the lines; U2:Where the streets have no name
AR. A: I'-IV'-VI-VIIChrisRea:Texas
BAa. C: IV-I Big Country:100 stars; lDavidBowie:It ain't easy; ArthurConley:Sweet
soul music; ElvisCostello:Miracleman; Night rally;DeaconBlue:Circuslights;
Real gone kid; Eagles:One of these nights; FleetwoodMac: Songbird; Eddie
Floyd:Knock on wood; Jam:Thickas thieves; RoxyMusic:Cry cry cry; Terence
Trentd'Arby:If you let me stay; U2: Elvis Presley & America;Promenade;A
sort of homecoming
BAb. D: TV-ILedZeppelin:For your life
BAc. A: IV-IMadness:Embarrassment;PinkFloyd:Childhood's end
BAd. C: IVX-IX BobDylan:Do right to me baby
 Patternsof harmony 97
BBa. C:IV-I-II-IDeaconBlue:Orphans
BBb.E: IV-I-II-I(FAO) Slade:Coz I luv you; ThinLizzy:Jailbreak
BC. C: IV-I-II-IV-V-IBe-BopDeluxe:Crying to the sky
BD. C: IV-I-II-VElectricLightOrchestra: Summer & lightning; PinkFloyd:Time
BE. C: IV-I-II'-VBoomtownRats:Me & Howard Hughes
BF. A: IV'-I-III-VII-VISupertramp: Crimeof the century
BG. C: IV-I-IV-VDerekS Dominos:Tell the truth
BH. C: IV-I-V-IBig Country:Steeltown; Byrds:All I really want to do; Creedence
ClearwaterRevival:Down on the corner;Jam:Smithers-Jones;Theymight be
giants:We want a rock
BI. C: IV-I-VI-IDavidBowie:Starman
BJ.C: IV-I-VI-II'-V PeterGabriel:And through the wire
BKa.G:IV-I-VII-I(BBNa&HCAa)JohnKongos:Tokoloshe man
BKb.G:IV-I-VII--IElvisCostello:Less than zero
BL. C: IV-II-IPhil Collins:I cannot believe it's true; Nik Kershaw:
Save the whale
BM. D: IV-III-IPhil Collins:I don't care any more
BN. A: IV-III-IV-I PinkFloyd:Young lust
BO. A: IV'-VI--I' WeddingPresent:My favouritedress
BP. C: IV-V-II-INeil Young:Tell me why
BQ. C:IV-V-IV-IBobDylan:When He returns
BR. A: IV-VI-III-IFleetwood Mac:The chain
CAa. C: V-IV-I(HAEa)Big Country:Harvest home; KateBush:The kick inside; Billy
Joel:That's not her style
CAb. G: V-IV-IGeorgeHarrison:All things must pass; SimpleMinds:Street fighting
years
CAc. A: V-IV-IPinkFloyd:Money
CB. C:V-IV-I-IV-II-I PeterGabriel:Wallflower

ClassH: Sharpwisecyclicsequences
AAa. A: I-III-VII-IV-IKinks:Dead End Street
AAb. D: I-III-VII-IVFineYoungCannibals: I'm not satisfied;JethroTull:4 W.D.; Meat
Loaf:Bat out of hell; SiouxsieS Banshees:Arabiannights
ABa. F: I-V-IIDeepPurple:Flight of the rat
ABb. C:I-V-IIAbba:Super trouper;Beatles:With a little help frommy friends;Dexy's
MidnightRunners:Come on Eileen; Supremes:Where did our love go?; They
mightbegiants:Hearing aid
ACa. C: I-V-II-IVDef Leppard: Run riot
ACb. C: I-V-II'-IVBoomtownRats:I never loved Eva Braun
ACc. A: I'-V-II--IVMadness:Our house
AD. C: I-V-II-VI-VGaryMoore:Rest in peace
AEa. C: I-V-IV-I(FAE&GCAa)Band:Long black veil; DavidBowie:Diamond dogs;
CreedenceClearwater Revival:Bad moon rising; Fortunate son; FleetwoodMac:
Go your own way; Kinks:Village Green PreservationSociety;Marmalade: Baby
make it soon; Who:Substitute
AEb. H: I-V-IV'-IEagles:Witchy woman; GentleGiant:Giant for a day
AFa. G:I-V-VII-IVJimiHendrix:One rainy wish
AFb. A: I-V-VII-IVSupertramp: School
AFc. G: I-V'-VII-IVIcicle Works:Walking with a mountain; Lindisfarne: When the
98 Allan Moore

war is over; PinkFloyd:Comfortablynumb;Fatold sun; Transvision Vamp:Kiss

their sons; t12:Red Hill mining town; Unforgettablefire; VanHalen:Secrets;
Vapors:TurningJapanese
AFd. G:I'-V'-VII-IV-V'-II' RoxyMusic:For your pleasure
AFe. A: I'-V'-VII-IV'-VI SimpleMinds:Wonderfulin young life
AGa. G:I-V-VII-IV-I EricClapton:Let it rain
AGb. D: I-V-VII-IV-I'Wishbone Ash:Warrior
BA. A: I-VI-III-VII SheilaWalsh:Hope for the hopeless
BB. A: I'-VII-V'-III-VII-IVPinkFloyd:Burningbridges;Mudmen
CAa. G: I-VII-IV(BBNa&GBKa&HJB) Bangles:Live; Bar-Kays:Soul finger; Beatles:
Hey Jude;Taxman;DavidBowie:Memory of a free festival;EricClapton:Don't
know why; Elvis Costello:You belong to me; CreedenceClearwaterRevival:
Fortunateson; DeaconBlue:Queen of the new year; DeepPurple:Flight of the
rat;Def Leppard: Don't shoot shotgun; Donovan:Hurdy Gurdy Man;Ian Dury:
Blockheads;FleetwoodMac:Don't stop; FourTops:If I were a carpenter;Free:
All right now; LedZeppelin:Gallows pole; Hots on for nowhere; Out on the
tiles; The rain song; MahavishnuOrchestra: Open countryjoy; SteveMillerband:
Rock'n me; Take the money & run; Mission:Island in a stream;Move:When
Alice comes back to the farm;Nazareth:Love hurts; Shanghaid 'n' Shanghai;
RoxyMusic:Trash;2H.B.; StoneRoses:I am the resurrection;ThinLizzy:Killer
on the loose; U2: Trip through your wires; UriahHeep:All my life; Circle of
hands; The wizard; SheilaWalsh:We'reall one; W7Io: Can'texplain;Magicbus;
JohnnyWinter:Ain't that a kindness
CAb. D: I-VII-IVBarclayJamesHarvest:Paper wings; Big Country:The storm; Kgte
Busta:Feel it; EricClapton:Catchme if you can
CAc. A: I-VII-IVDavidBowie:Ashes to ashes; PhilColllins:Another day in paradise;
LIriahHeep:Travellerin time
CB. A: I'-VII-IV'-VI-IIIRoxyMusic:Angel eyes
CCa. G:I-VII-IV-VRoxyMusic:If there is something; Theymightbegiants:Twisting
CCb. G:I-VII-IV-V'JohnnyWinter:On the limb
CCc. D: I-VII-IV-V' Level42: Coup d'etat
CDa. D: I-VII-IV-III KateBush:Oh to be in love
CDb. A: I-VII-IV-III BronskiBeat:Smalltownboy
CDc. D: I'-VII-IV-III ChrisRea:Looking for a rainbow
CEa. C: I-VII-IV-II DavidBowie:Look back in anger
CEb. E: I-VII'-IV'-IIToyah:Ieya
CF. G: I-VII-II-IBand:Chest fever
DA. C:II-IV-I-VBand:Wheels on fire
EAa. G: III-VII-IV-I Be-BopDeluxe:Fairexchange; LedZeppelin:Over the hills & far
away
EAb. D: III-VII-IV-I ElvisCostello:Goon squad;PinkFloyd:Childhood's end
EAc. A: III-VII-IV-I (EGA)Melanie:Candles in the rain
EAd. A: III-VII-IV-I' RollingStones:Jumpin'JackFlash
FAa. C: IV-I-VBonJovi:Living in sin; Creedence ClearwaterRevival:Up around the
bend; DefLeppard: Animal
FAb. G:IV-I-VToto:Manuelarun
FB. C: IV-I-V-II'RoxyMusic:Still falls the rain
GAa. C:V-II-IV-IPeterGabriel:Wallflower;LedZeppelin:Celebrationday
GAb. C:V-II'-IVX-I Band:To kingdom come
 Patternsof harmony 99

HA. A: VI-III-VII-I'(DBI)Family:In my own time

JimiHendrix:Hey Joe;SiouxsieS Banshees:
HB. A: VI-III-VII-IV'-I' Love in a void
HC. C: VI-IV-I-V GaryMoore:Kidnapped
IAa. G:VI-VII-IV-I JohnnyWinter:Look up
IAb. D: VI-VII-IV-ILedZeppelin:Foryour life
JA. A: VII-IV'-I-V'DeepPurple:Fireball
JB. G: VII-IV-I(HCAa)All AboutEve:Road to your soul; BonJovi:99 in the shade;
KateBush:The man with the child in his eyes; EricClapton:Blackrose; lDerek
&
lDominos:Anyday; BoblDylan:I believe in you; Fairport Reynardine;
Convention:
Peter Hammill:Vision; JethroTull: Pig-me & the whore; Billy Joel:I go to
extremes; Meters:Ease back; Police:Next to you; SimpleMinds:Belfast child;
TalkingHeads:Thankyou for sending me an angel; U2:In God's country;Van
Halen:Hang 'em high; Vapors:Trains;JohnnyWinter:Ain't that a kindness
JC. G:VII-IV-VII-IR.E O. Speedwagon: Open up

ClassI: Flatwisecyclicsequences
AA. G: I-I"-IV-VII PaulMcCartney: Motorof love
AB. A: I-VI-VII-III-VI-II-VGentleGiant:It's only goodbye
AC. G:I-VI'-II-VII-V' BeachBoys:I get around
ADa. C: I-VI-II-V(DBAa&GAEf)Abba:Fernando;Winner takes all; BeautifulSouth:
How do you do it?;
Love is . . .; Fourmost:Hello little girl; GerryS Pacemakers:
WhitneyHouston:Saving all my love for you; Madness:The blue-skinnedbeast;
KylieMinogue:It's no secret; Nilsson:Without you; ProcolHarum:Your own
choice; SimonS Garfunkel: America
ADb. C:I-VI'-II-VDavidBowie:Life on Mars;WhitneyHouston:You'restill my man;
PaulMcCartney: You want her too; Move:Firebrigade;SimonS Garfunkel: Baby
driver
ADc. F: I-VI'-II-VBoomtownRats:She's so modern
AEa. F: I-VI-II-V-IBeatles:Good day sunshine; MaryWells:My guy
AEb. C:I-VI'-II-V-IEdwinStarr:Stop her on sight; StevieWonder: Foronce in my life
BAa. G:I-IV-VIIElvisCostello:Waitingfor the end of the world; DefLeppard: Love &
affection;Kinks:Lola; PlasticOno Band:Happy Christmaswar is over; Procol
Harum:Nothing but the truth; She wandered through the garden fence;
SimpleMinds:When spirits rise; UriahHeep:Poet's justice
BAb. D: I-IV-VIIThinLizzy:Don't believe a word
BAc. A: I-IV-VIIToto:Takin'it back
BAd. G:I-IV-VIIX-I DerekS Dominos:Layla
BAe. A: I'-IV-VIIStevieWonder: I was made to love her
BBa.A: I-IV-VII-I-V GeorgeHarrison:When you gonna wake up
BBb.G: I-IV-VII-I-V-IV Mission:Bridgesburning
BCa. G:I-IV-VII-VFontellaBass:Rescue me; U2: Pride in the name of love
BCb. G:I-IV-VII-V'ElvisCostello:Alison; XTC:That'sreally super, supergirl
BCc. D: I-IV-VII-V'ProcolHarum:Conquistador
BDa. G: I-IV-VII-IVSolomonBurke:Everybody needs somebody to love; Fleetwood
Mac:Gold dust woman; Icicle Works:Don't let it rain on my parade; Queen:
Crazylittle thing called love; U2: One tree hill
BDb. G: I-IV--VII-IV--VCuriosityKilledtheCat:Down to earth
BEa. D: I-IV-VII--IIIBeautifulSouth:Have you ever been away?
100 Allan Moore
BEb.D: I-IV-VII-III-bII' StevieWonder: Don't you worry 'bout a thing
BEc.A: I'-IV-VII-III-V' PeterHammill:Happy
BEd. G:I-IV-VII-III-VI KylieMinogue:Turnit into love; ProcolHarum:The devil came
from Kansas;SimonS Garfunkel: Mrs Robinson
BEe. A: I-IV'-VII-III-VI ElvisCostello:Accidents will happen
BEf.A: I'-IV'-VII-III-VI Hue S Cry:Labourof love
BEg. E: I-IV'-VII-III-VI--IIUriahHeep:The spell
BEh. A: I-IV-VII-III-VI-II-V' GloriaGaynor:I will survive
BFa. C: I-IV-II-VBeachBoys:Wouldn't it be nice; Def Leppard:Love bites; Eagles:
Lyin' eyes; IcicleWorks:Up here in the north of England;SimonS Garfunkel:
Only living boy in New York; TransvisionVamp:Landslide of love; Bonnie
Tyler:Lost in France;Neil Young:Till the morning comes
BFb. C: I-IV-II'-VBeatles:Things we said today; DavidBowie:Changes; Move:Walk
upon the water
BG. C: I-IV-II-V-III-VI-IV-I ProcolHarum:Homburg
CA. F: I--III'-VI'-III'-II-VMotorhead: Tearya down
CB. C: I-III-VI-II-VQueen:Don't stop me now
CCa. C: I-III-II-V(EAIa)Abba:Super trouper;Beatles:I'm happy just to dance with
you; BeautifulSouth:Oh Blackpool;CuffLinks:Tracy;GerryS Pacemakers: I like
it; BillyJ. Kramer: Do you want to know a secret?;Move:Curly
CCb. C:I-III-II-V-I Mary Wells:My guy
DAa. F: I-II-VKinks:You really got me; Move:Flowers in the rain
DAb. C: I-II-VBeachBoys:Don't worry baby;I can hear music; DavidBowie:Bewlay
brothers;ElvisCostello:Senior service; Who:Substitute
DAc. G:I-II-VSouxsieS Banshees:Spellbound
DBa. F: I-II-V-IBeachBoys:Heroes & villains;Beatles:I want to tell you
DBb. C: I-II-V-IAdamS Ants:Ant music; BeachBoys:You'reso good to me; Beatles:
Tell me why; DavidBowie:Sound and vision; JanisIan:At seventeen; Plastic
OnoBand:Happy Christmaswar is over
DBc. A: I-II'-V'-IAbba:Money money money; ProcolHarum:Pandora'sbox
DBd. B: I--II-V-I- DavidBowie:Bewlay brothers
EA. C: I-IM-II-V EdwinStarr:Stop her on sight
FA. C:V-V7-I-II7 KateBush:The morning fog; ProcolHarum:Pilgrim'sprogress
FB. C: VI-II-V-IDef Leppard:Love bites; Procol Harum:Magdalene my regal
zonophone
GA. C: V-III'-VI-II'-IV-II-IAbba:Dancing queen
GB. C: V-I-IVIcicleWorks:Evangeline;Level42: It's not the same for us
GC. C:V-I-IV-VDef Leppard: Gods of war
HA. G:IV-VII-IByrds:I'll feel a whole lot better;EricClapton:MainlineFlorida
HB. C: IV-V-III-VI-II-V-I PaulMcCartney: Figureof eight; KylieMinogue:I should be
so lucky
HC. D: IV-V'-IHappyMondays:Bringa friend
HD. C: IV-II-V-IKateBush:Wuthering Heights; JudyClay S WilliamBell:Private
number;lDefLeppard: Love bites; lDerekS lDominos:Layla;KylieMinogue:Got to
be certain;ProcolHarum:The final thrust
HE. C: IV-II-III-VI-II-V-I Petula Clark:My love is brighter than the brightest
sunshine
HF. C: IV-I-II'-V-IBonzoDog Band:Canyons of your mind
IA. C:III-VI-IV-V-I Supremes: The happening
 Patternsof harmony 101

IB. C:III-VI-II-V MarthaReeves:I'm ready for love

ICa. C:III-VI-II-V-I Beatles:Can'tbuy me love; BigCountry:Eiledon;PhilCollins:You
can't hurry love; Elvis Costello:Living in paradise;KylieMinogue:I miss you;
I'll still be loving you
ICb. C: III'-VI-II-V-I StevieWonder: Too high
ICc. F: III'-VI-II-V-I Jam:David Watts
IE. G:III'-VI'-II'-V-VII-I BryanFerry:The 'in' crowd
IF. E: III'-VI'-II'-V'-I'Supremes: The happening
JA. C: II-VI-IV-V-I Beatles:And I love her
JBa.F: II-V-IDavidBowie:Red sails; JohnnyBurnette:You'resixteen
JBb. C: II-V-IAbba:Super trouper; AlbertHammond:It never rains in Southern
California;Beatles:With a little help from my friends;Jam:BillyHunt; Down in
the tube station at midnight; Santana:All the love of the universe
JC. C:II'-V-I-IVAll AboutEve:More than the blues
JDa. C:II-V-I-VIA-Ha:Takeon me; Beatles:Lady Madonna;Fleetwood Mac:You and
I, part II; GeorgeHarrison:My sweet lord; Paul McCartney:This one; Stevie
Wonder: A place in the sun
JDb. C: II-V-I-VI'BeachBoys:Darlin'
JE. G:II-V'-I-VII= ProcolHarum:Conquistador
JF. D: II-V'-VI--IV-V'-III-I' Eurythmics:There must be an angel
PA. G:I-III'-VI-IX-IV-VI'-II-IVx-VII (EBDb)ElvisCostello:Partygirl
PB. A: I-III-VII-IV'-VI-III-V Wishbone Ash:Throw down the sword
PC. A: I-V'-VII--IV'-IV--VII-V'-bV' Madness:PrimroseHill

Class1:Non-tonicelaboration/tonic
preparation
AA. A: VII-VI-V'KingCrimson:Courtof the crimson king
BA. G:VI-VIIU2:Wire
BB. A: VI-VII-V'SiouxsieS Banshees:Mirage
BCa. C:VI-V Vapors:Letterfrom Hiro
BCb. H: VI-V Vapors:Somehow
BDa. C:VI-V-IV-VSupremes: Stop in the name of love
BDb. C:VI-V-IV(B) BigCountry:Heart & soul; DavidBowie:Star;lohnnyWinter:Am
I here?
BDc. A: VIX-Vx-IVx-VxMadness:Madness is all in the mind
BE. C:VI-IVBe-BopDeluxe:Sleep that burns
BF. C:VI-IV-VBigCountry:Girlwith grey eyes; Porrohman;Fleetwood Mac:Go your
own way
BG. A: VI-IV-III-VII
Phil Collins:The roof is leaking
BH. A: VI-III-VIIDefLeppard: Armageddon it
BI. C:VI-III-VII-IV
KateBush:James& the cold gun
BJ.C:VI-III-VI-VSimonS Garfunkel: The boxer
CA. C: V-IV Eric Burdon:It's my life; DeaconBlue:Your constant heart; Aretha
Franklin:Respect; FrederickKnight:I've been lonely for so long; LedZeppelin:
Royal Orleans
CB. C:V-IV-II-VBig Country:Where the rose is sown
CCa. C: V-VI-IV-VCockneyRebel:Judy Teen; FleetwoodMac: Everywhere; Gary
Moore:All I want
CCb. C:V-VI-IV-II'RollingStones:Fool to cry
102 Allan Moore

CD. C: IV-#IV°-V-IXPaulMcCartney: That day is done

CE. C:IV-VI-II'DavidBowie:Moonage daydream
DAa. C:IV-VBoomtownRats: Don'tbelievewhatyouread; DavidBowie:Hangonto
yourself;EricBurdon:Spill the wine; Byrds:So you want to be a rock'n'rollstar;
Elvis Costello:Two little Hitlers; Five Star:Rain or shine; King Crimson:Two
hands; LedZeppelin:The ocean; Over the hills and far away
DAb. H: IV-VGentleGiant:Proclamation
DC. A: IV-III-VII-VI PeterGabriel:Lay your hands on me
DDa. C:IV-III-II-V Neil Young:Only love can breakyour heart
DDb. E:IV'-III-II-bI'-V StevieWonder: Visions
EA. C:III-VI-IV-VBeautifulSouth:Song for whoever
EB. A: III-IV'-VI-VKinks:Till the end of the day
EC. A: III-VIKinks:Dead End Street
ED. F: III'-VI-V-I-IX-II-V
ElectricLightOrchestra: Wild west hero
FAa. F: II-V David Bowie:Hang on to yourself; CreedenceClearwaterRevival:Hey
tonight
FAb. C: II-V ElvisCostello:Little triggers;FourTops:Reach out; lohn Lennon:No. 9
dream;SimplyRed:Holding back the years; Supertramp: Bloody well right

ClassK:Twelve-bar
blues(oftenwitheight-barbridgemovingto VI)
One chord per bar:bracketsincorporateintra-barchanges
AA. A: I-I-I-I-III--III-II--I-I-V-VII-I-I
limi Hendrix:Littlemiss lover
ABa. C: I-I-I-I-IV-IV-I-I-V-V-I-IChuckBerry:Johnny B. Goode; Bonlovi: Bad medi-
cine; EricClapton:I can't hold out; DannyS theluniors:At the hop; Bill Haley:
Rock around the clock; BuddyHolly:Oh boy; Louislordan:Choo choo ch'boo-
gie; lerryLeeLewis:Whole lotta shakin' goin' on
ABb. A: I-I-I-I-IV-IV-I-I-V-V-I-IBookerT S MGs:Green onions; Z.Z. Top:Blue jean
blues
ABc. C: I-I-I-I-IV-IV-I-I-V-IV-V-ICreedence ClearwaterRevival:Travelin'band
ABd. C: I-I-I-I-IV-IV-I-I-(V-II)-V-I-I
BeachBoys:Littledeuce coupe
ABe. ABa irreg. extensions Elvis Costello:Waiting for the end of the world; limi
Hendrix:She's so fine
ABf. D: I-IV-I-I-I-IV-I-I-V-V-I-IZ.Z. Top:Backdoorlove affair
ACa. G:I-I-I-I-IV-IV-I-I-V'-(VII-IV)-I-IStatusQuo:In my chair
ACb. G:I-I-I-I-IV-IV-I-I-V'-(VII-IV-V')-I-I BillySwan:I can help
AD. A: I'-I'-I'-I'-IV'-IV'-I'-I'-V'-(VI-IV'-V')-I'-I'
EricClapton:Bad boy
AEa. C:I-I-I-I-IV-IV-I-I-V-V-V-I ElvisCostello:Blameit on Cain
AEb. C: I-I-I-I-IV-IV-I-I-V-V-V-V Cream:Sunshine of your love
AFa. C: I-I-I-I-IV-IV-I-I-V-IV-I-IBeachBoys:Barbara-Ann;leff Beck:Let me love you;
You shook me; CannedHeat:Togetherwe stand; EricClapton:Blow wind blow;
EverlyBrothers: Birddog; Madness:Solid gone; Merseybeats: Sorrow;SteveMiller
band:Mercuryblues; Nazareth:Bad bad boy; R.E.O. Speedwagon: Movin';Little
Richard:Good golly Miss Molly;Tutti frutti;Mungolerry:In the summertime;
GeneVincent:Be-bop-a-lula;lackieWilson:Reet petite; Z.Z. Top:Tush; Waitin'
for the bus
AFb. A: I-I-I-I-IV-IV-I-I-V-IV-I-IBobDylan:Gonna change my way of thinking;Pink
Floyd:Money
AFc. C: I-I-I-I-IV-IV-I-I-V-IV-I-V Beatles:You can't do that; Swinging Blue leans:
Hippy hippy shake
 Patternsof harmony 103

AFd. C: I-I-I-I-IV-IV-I-I-V-V-IV-I lohnnyWinter:Look up

AFe. G:I-I-I-I-IV-IV-I-I-V-(IV-VI-V')-I-I EricClapton:Steady rollin' man
AFf. A: I-I-I-I-IV-IV-I-I-V-(IV-VII)-I-I
LedZeppelin:Tea for one
AFg. C: I-IV-(I-IV)-I-IV-IV-(I-IV)-I-V-IV-(I-IV)-(I-V)
UriahHeep:Lucy blues
AFh. Afa irreg. extensions LedZeppelin:Hats off to (Roy)Harper
BA. A: I-I-I-I-IV-IV-I-I-IV-(VI-VII)-I-I
Doors:Riderson the storm
BB. C: I-I-I-I-IV-IV-I-I-IV-V-V-IBeatles:Can'tbuy me love
BC. C: I-I-I-I-IV-IV-I-I-IV-IV-V-V FatsDomino:Ain't that a shame
BDa. C:I-I-I-I-IV-IV-I-I-IV-I-V-I lohnnyOtis Show:Willie and the hand jive
BDb. C: I-I-I-I-I-I-I-I-IV-I-(V-IV)-I
Z.Z. Top:Beer drinkers& hell raisers
BEa.D: I'-I'-I'-I'-IV-IV-I'-I'-III-VII-I'-I'
(IA) Who:The seeker
BEb. D: I'-I'-I'-I'-IV-IV-I'-I'-(III-VII)-(III-VII)-(III-VII-V')-I'
lohnny Winter:Prodigal
son
CA. C:I-I-I-I-IV-IV-I-I-II'-IV-I-I
Move:When Alice comes back to the farm
DA. C: I-I-I-I-IV-IV-I-I-I-I-I-I
LittleRichard:Tutti frutti
DB. C: I-I-I-I-IV-IV-I-I-I-(II'-V)-I-I
Z.Z. Top:Jesus left Chicago
GA. C: I-I-I-I-V-V-IV-IV-V-IV-I-I EddieCochran: Somethin' else
HA. C: I-I-I-I-IV-II-I-I-V-IV-I-I
T. Rex:Hot love
IA. A: I-I-I-I-I-I-I-I-III-VII-I-I
(BE)limi Hendrix:If six was nine
JA. G:I-I-I-I-VII-VII-I-I-V'-IV-I-IMeters:Live wire
LA. C: I-I-I-III'-VI-II'-VII--III'-IV-V-I-V
ElectricLightOrchestra:Mr. Blue Sky
MA. G: (I-IV)-I-VII-I-(I-IV)-I-VII-I-IV-V'-(I-IV)-I
Beatles:Hard day's night
NAa. A: I'-IV'-VI-I-IV-IV-I-I-V-IV-I-I BuddyHolly:Peggy Sue
NAb. C: I-IV-I-I-IV-IV-I-I-V-IV-I-I BuddyHolly:Peggy Sue
NAc. C: I-IV-I-I-IV-IV-I-I-V-IV-(I-IV)-(I-V) DerekS Dominos:Have you ever loved a
woman
NAd. A: I-IV-I-I-IV-IV-I-I-V-(VI-IV)-(I-III)-(II'-bII')Led Zeppelin:Since I've been
lovin' you
OA. D: I-VII-I-I-I-VII-I-I-III-IV-I-I
Z.Z. Top:Just got paid
leff
PA. C: IV-IV-I-I-IV-IV-I-I-V-IV-I-I Beck:I ain't superstitious; Motorhead:Limb
from limb;Nazareth:Bad bad boy

ClassL:Eight/sixteenbarblues
AAa. C: I-I-I-I-V-IV-I-I EricClapton:Bottle of red wine
AAb. D: I-I-I-I-V'-IV-I-I Cream:Bornunder a bad sign
AB. C: I-I-I-I-IV-I-IV-I EddieCochran: Summertimeblues
ACa. C:I-I-I-I-IV-I-V-I Beatles:Balladof John & Yoko
ACb. C: I-I-I-I-IV-I-(V-IV)-I ElvisCostello:Mystery dance
ACc. D: I-I-I-I-IV-I-(V'-VII)-I BobDylan:Gotta serve somebody
ADa. C: I-I-I-I-IV-V-I-I BeachBoys:Do it again
ADb. A: I'-I'-I'-I'-IV'-(VI-V')-I-ICreedence Clearwater Revival:Susie Q
AE. A: I'-I'-I'-I'-IV'-V'-I'-IIIDesmondDekker:Israelite
AF. C: I-I-I-IV-IV-I-V-I NormanGreenbaum: Spiritin the sky
AGa. C: I-I-I-V-I-IV-(I-V)-I lohnnyS theHurricanes: Red river rock
AGb. C: I-I-I-V-IV-IV-(I-V)-I Beatles:I'll cry instead
AH. G:IX-Ix-IVx-Ix Beatles:Get back
BAa. C:I-I-IV-I-V-IV-I-I StoneRoses:Shoot you down
BAb. A: I-I-IV-I-VII-IV-(III-VII-VI-V)-I Doors:Love me two times
BBa. C: (I-IV)-I-IV-IV-I-I-V-I DerekS Dominos:It's too late
104 Allan Moore

BBb.C: I-I-IV-IV-I-V-I-I Cream:Sitting on top of the world

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

Class M: Returning modulations

AA. G: IC-VIICBand: We can talk; Beatles: Good day sunshine; Madness: Victoria
Gardens;Gary Moore:Teenage idol; Who:I'm free
AB. C:IA-VIIA-IIC Derek S Dominos: Layla
BAa. C:IC-VICDerekS Dominos: Bell-bottomblues; Who:Picturesof Lily
BAb. C: IC-VIA David Bowie: Moonage daydreams;Elvis Costello:The beat; Simple
Minds: Sound in 70 cities
BB. D: IA-VIADuran Duran: Save a prayer;Nik Kershaw:Roses; Madness: Turning
blue
BC. A: IC-VICDavid Bowie: Golden years; Gentle Giant: Cogs in cogs; Led Zeppelin:
Celebrationday; The Look:The beat; SpandauBallet:True;Supremes:You keep
me hanging on; WeddingPresent: Something & nothing
CA. C: IC-VC Queen: Killerqueen
CB. C:VG-IC Derek S Dominos: Anyday
CC. A: IA-VA-IVAGary Moore:Run to your mama
DA. F: IC-IVAMadness: The blue-skinnedbeast
DBa. C: IC-IVCDrifters:Under the boardwalk;Peter Gabriel:Wallflower;LoveAffair:
Everlastinglove; Who:I can see for miles
DBb. C: IVC-ICBeatles:I am the walrus
DBc. C:IA-IVA Abba:Summer night city; Bon lovi: Wild is the wind
DC. A: IA-VIA Big Country:Girlwith grey eyes
DD. A: IA-IVA-VIC Madness: One better day
DE. C: IC-VIA-VIIA-VIA A Procol Harum:Nothing but the truth
 Patternsof harmony 105

DF. A: IA-VIA-VIIA-VA-IA Alice Cooper:Poison

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

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

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