Music Examples (notation/transcription)
on Tagg’s website

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gtr = guitar
= lead sheet chord shorthand
mel = melody
rec = recorded/recording

By example number

  1. Subtonic or leading note? (a) Handel: hymn tune Antioch (‘Joy To The World’); (b) The Foggy Dew (Irish trad.).
  2. UK national anthem (God Save The Queen) - melody only
  3. Fictitious God Save The Queen (also in ionian G)
  4. Simon & Garfunkel (1966): Scarborough Fair (Eng. trad.) E dorian
  5. Steeleye Span (1971): The Blacksmith (Eng. trad.); D dorian
  6. The Drunken Sailor (Eng. trad., cited from memory; D dorian )
  7. Noël Nouvelet (Fr. Trad., cited from memory); D dorian
  8. Sokrates Málamas (2005): ‘Princess’; E phrygian (dromos Ousak)
  9. Cordigliera (Italian library music, n.d., CAM 004); D phrygian
  10. Samuel Barber: Adagio for Strings, bars 4-8; F phrygian
  11. (a) Danny Elfman (1989): The Simpsons theme, lead motif; C lydian
    (b) Brian Fahey (1960): BBC Pick of the Pops motif; C lydian
  12. Romanian Polka from Romanian Dances (arr. Bartók, 1915); D lydian
  13. She Moved Through The Fair (Brit./Ir. Trad. cit. mem.) D mixolydian
  14. Tàladh Chriosda (Scot. Gael. trad. via A. Cormack, 2011); mixolydian E$
  15. The Lark In The Morning (Eng. trad. via Steeleye Span, 1971).
    B mixolydian; $ê = a@)
  16. The Lamentation of Hugh Reynolds (from Irish Street Ballads,
    1939). D mixolydian; $ê = c@.
  17. I’ve Always Been A Gambler (US Trad. via New Ruby Tonic
    Entertainers, 1974, v Betsy Rutherford). G mixolydian; $ê = f@.
  18. Luiz Gonzaga (Senior): Asa branca (1955). G mixolydian; $ê = f@.
  19. Righteous Brothers: You’ve Lost That Lovin’ Feelin’, start of v. 1
    (1964); C mixolydian; $7=b$
  20. Beatles: Norwegian Wood, sitar intro (1965b). E mixolydian; $7=d@
  21. Mozart: Symphony no. 40 in G minor (I) (1788), bars 1-4; G æolian.
  22. Beethoven: Symphony no. 5 in C minor (I) (1808), bars 6-13; C æolian
  23. Chopin: Marche funèbre (1839); B$ æolian
  24. Kyrie ‘Orbis Factor’: aeolian in D
  25. Billie Holiday: Gloomy Sunday (1941): vocal line, verse 2; G æolian
  26. Theme from Romeo & Juliet (1968); A æolian $Î-Ê
  27. Aerosmith: Janie’s Got A Gun (1989: 4:04-4:34 ); F æolian $Î-Ê
  28. Nirvana: Smells Like Teen Spirit (1991, verse); F æolian $Î-Ê (a$-g).
  29. Nirvana: Lithium (1991, chorus ); D æolian $Î-Ê (f-e)
  30. God Rest You Merry, Gentlemen (Eng. trad., cit. mem.) D aeolian
  31. Arturov: Amur Partisan Song (mel. cit. mem.); D aeolian
  32. Kaoma: Lambada (1989). D aeolian (d e f g a b$ c = Â Ê $Î Ô Û $â $ê)
  33. Egyptian traditional song; Nahawand in A (1973)
  34. Maurice Jarre: Lawrence of Arabia (1963); quasi-Hijaz/Kurd in D
  35. Ketèlbey: In A Persian Market (1920), bars 27-33; quasi-Hijaz in E;
    e f g# a b c d = Â $Ê #Î Ô Û $â $ê.
  36. Madness: Night Boat To Cairo (1980); quasi-Hijaz hexatonic in F;
    f g$ a@ b$ c e$ = Â $Ê #Î Ô Û $7
  37. Dizzy Gillespie: A Night In Tunisia (1957); quasi-Nawa Athar and ‘Gypsy Hungarian’ in D. <Â [$Ê] $Î #Ô Û $ê >$ê $â Û Ô $2 Â
  38. Sokrates Málamas (2005): ‘Princess’; E phrygian (δρόμος Ουσάκ);
    e f@ g a b c d in E = Â $Ê $Î Ô Û $â $ê.
  39. Sezen Aksu: Firuze (1982), 2 extracts; Kürdî makamı in B (phrygian);
    b c d e f# g a = Â $Ê $Î Ô Û $â $ê
  40. Idelsohn: Hava Nagila (mel. cit. mem.); ‘Freygish’, i.e. Hijaz;
    e f@ g# a b c d in E = Â $Ê #Î Ô Û $â $ê.
  41. Beregovski’s Sher (Klezmer); ‘Freygish’, i.e. Hijaz;
    d e$ f# g a b$ c in D = Â $Ê #Î $Ô Û $â $ê.
  42. Haris Alexiou [Χάρις Αλεξίου] ‘Ap’ ton perasméno Márti’, bars 9-14; Λαϊκές Κυριακές (1976); Hijaz in A: a b$ c# d e f g = Â $Ê #Î $Ô Û $â $ê.
  43. Ермалък/Ermálak (1992): Българи (=Bulgarians); Hijaz in B$
    b$ c$ d@ e$ f g$ a$ = Â $Ê #Î $Ô Û $â $ê.
  44. Iron Maiden: Powerslave (1984: 0:00-0:35, 0:36, ff.); bars 1-2 phrygian in A, bars 3-7 Hijaz Kar in A: a b$ c# d e f g# a = Â $Ê #Î $Ô Û $â #ê.
  45. Rainbow: Gates of Babylon (1978: 0:53-1:01) riff in E Hijaz Kar, 15ma bassa: e f@ g# a b c@ d# = Â $Ê #Î $Ô Û $â #ê.
  46. Metallica: Wherever I May Roam (1991), 3:49-4:03;
    mostly Hijaz Kar in E; e f@ g# a b c@ d# = Â $Ê #Î $Ô Û $â #ê
  47. Scale exercises in F# Hijaz (Â $Ê #Î Ô Û $â $ê), example 1 in lesson ‘Phrygian dominant’ (sic) for metal guitarists (Campese, 2009)
  48. Misirlou a.k.a ‘Song of the Crickets’ (Afghanistan trad., n.d). Hijaz Kar in D; d e$ f# g a b$ c# = Â $Ê #Î $Ô Û $â #ê
  49. Óscar Herrero (2004): Flamenco Guitar, Estudio N° 19 - Ligados;
    repeated Hijaz tetrachord 1 $2 #3 4
  50. Estribillo de Zorongo; Hijaz and phrygian in E: Hijaz #Î-Ô (g#-a, ascending); phrygian Ô-$Î-$2-Â (a-g@-f@-e, descending).
  51. Fosforito: Liviana (simplified); Hijaz and phrygian in G#; #Î-Ô-Û (b#-c#-d#, ascending); phrygian Û-Ô-$Î-$Ê-Â (d#-c#-b@-a@-g#, descending)
  52. Flamenco cadence chords (Soleá)
  53. Estribillo de Vito (baile popular cordobés; cit. Fernández, 2004: 46)
  54. Juan Serrano (2002): Sevillana III; Ô-$Î-$Ê-Â descent, bars 5-7.
  55. Sylvia Vrethammar (1973): Y viva España (v. 1 & 2)
  56. Sarasate (1878) Zigeunerweisen (start of solo violin part); harmonic
    minor (Nahawand) in C (bars 5-6): Â-Ê-$Î-Ô-Û-$â-#ê = c d e$ f g a$ b@ and in G (bars 2-3): Â-Ê-$Î-Ô-Û-$â-#ê = g a b$ c d e$ f#.
  57. Bartók (1915). ‘Topogó’ from Six Romanian Dances (cit. mem., shown an octave lower); hexatonic Nikriz in B: Â Ê $Î #Ô Û #â = b c# d e# f# g#.
  58. Bartók (1915). ‘Bucsumí tánc’ Six Romanian Dances; Hijaz in A (except c@, b. 5-6): Â $Ê #Î Ô Û $â $ê= a b$ c# d e f g.
  59. Bartók (1916): Piano Sonatina, I (‘Dudások’), b. 5-8; lydian $7 in D;
    d e f# g# a b c@ = Â Ê #Î Ô Û #â $ê
  60. Bartók (1937) Sonata for Two Pianos and Percussion; lydian $7 in C;
    c d e f# g a b$ = Â Ê #Î #Ô Û #â $ê
  61. Bartók (1939) Divertimento for String Orchestra (I), b. 2-8;
    Nikriz in F; f g a$ b@ c d e$ = Â Ê $Î #Ô Û #â $ê.
  62. Standard blues piano motifs in F (over F and B$ in Q )
  63. István Pál (2011): Elhunyt táncos barátaink emlékére (1:07-1:14, rough transcr.); Nikriz in D: Â Ê $Î #Ô Û #â $7 = d e f@ g# a b@ c@
  64. Tivadar Mészáros (1984): Kókai Rezső/Verbunkos Rhapsody (at 1:54; rough transr.) Nikriz in C: Â $Ê #Î $Ô Û $â #ê = c d e$ f# g a b$
  65. José Siqueira (1949): Segunda cantoria de cego; lydian flat seven in A:
    Â Ê #Î #Ô Û #â $ê = a b c# d# e f# g@ (cited by Camacho, 2004: 172).
  66. Brian Fahey (1960): Theme for BBC Pick of the Pops; lydian $7 in C; c d e f# g a b$ = Â Ê #Î #Ô Û #â $ê (except Hijaz cadence, b. 8).
  67. Danny Elfman (1989): The Simpsons theme, lydian flat seven in C;
    c d e f# g a b$ = Â Ê #Î #Ô Û #â $ê
  68. Morning adhan (call to prayer), Al-Aqsa mosque, Jerusalem (2013)
  69. Vigneault/Rochon (1973): Je chante pour (octatonic opning phrase)
  70. Cree Indian duck song (tetratonic: a c d e)
  71. Psalm tone 2 (quasi-tetratonic: c d [e] f g)
  72. Children’s tritonic taunting chant (e g a)
  73. Lynyrd Skynyrd: Sweet Home Alabama (1974); d e f#/1 2 #3
  74. The Crystals: Da Doo Ron Ron (1963); e$ f g / 1 2 #3
  75. ‘Sloane’ (Irish trad.), b. 1-8 (doh-pentatonic in E$)
  76. The East Is Red ( 东方红 - Chinese trad.), b. 1-4 (doh-pentatonic in E)
  77. Skye Boat Song (Scot. trad., cit. mem.); doh-pentatonic in G $ (black keys)
  78. Amazing Grace (1835; mel. cit. mem.); doh-pentatonic in F
  79. Johnny Cash: Hurt (2009; la-pentatonic A)
  80. The Coo-Coo Bird’ (US trad., via Ashley, 1929; la-pentatonic G)
  81. Boom Boom’ (Animals, 1964b, covering Hooker, 1963; la-pentatonic E)
  82. Shady Grove (US trad. via Clarence Ashley, ré-pentatonic A
  83. The Braes of Lochiel (Scot. trad., bars 1-5; ré-pentatonic A)
  84. Lowlands Of Holland (UK. trad./Steeleye Span, 1970; ≈ ré-pentatonic C#)
  85. ‘Female Drummer (Eng. trad. via Steeleye Span, 1971; ≈ ré-pentatonic C)
  86. Alex Bradford (1955): Somebody Touched Me
  87. Smokey Robinson & The Miracles (1963) You Really Got A Hold On Me
  88. Bessie Smith (1929) I’m Wild About That Thing
  89. Robert Johnson (1936): Kind Hearted Woman Blues
  90. Valentine Brothers (1982): Money’s Too Tight To Mention, 2:15-2:33
  91. Bobby Timmons (1958): Moanin’; $5 as bop blues
  92. Henry Mancini (1963): The Pink Panther (repeated $Û extract)
  93. Cream: Sunshine Of Your Smile (1968): blues la-pentatonic riff in A
  94. Deep Purple: Smoke On The Water (1972a, 0:26-0:35): opening guitar riff with bass, blues la-pentatonic in G
  95. ‘This Old Man’ (Eng. trad., cit. mem.) doh-hexatonic;
    Â Ê #Î Ô Û #â = d e f# g a b in D)
  96. ‘The Claudy Banks’ (Eng. trad., via The Albion Country Band, 1970);
    doh-hexatonic Â Ê #Î Ô Û #â = e f# g# a b c# in E)
  97. MacPherson’s Farewell (Scot. trad., mel. cit. mem.);
    doh-hexatonic Â Ê #Î Ô Û #â = f g a b$ c d in F
  98. Tom Jones: It’s Not Unusual (1965); doh-hexatonic in C (no b@)
  99. Ye Jacobites By Name (Scot. trad. via The Corries, 1971); la-hexatonic F
  100. The Maid Of Coolmore (Ir. trad. via Bothy Band, 1976); la-hexatonic B
  101. When Johnny Comes Marching Home (US trad.); la-hexatonic G
  102. Florence Reece: Which Side Are You On? (1931); la hexatonic E
  103. Hollies: Bus Stop (1966); la hexatonic A
  104. Dolly Parton: Jolene (1973); la-hexatonic C#
  105. ‘The Drunken Piper’, bars 1-8, no grace notes (fr. Scots Guards Settings of Pipe Music, Vol 1, 1954); in ré-hexatonic A (sounding B$):
    Â Ê Ô Û #â $ê = a b d e f# g in A.
  106. Wondrous Love’ (US trad., arr. Hauser, Southern Harmony (1854) via Popular Music in Jacksonian America (1982); ré-hexatonic F;
    Â Ê Ô Û #â $ê = f g b$ c d e$ in F)
  107. Tiocfaidh an samhradh (Ir. trad. via Breathnach, 2007); ré-hexatonic A;
    Â Ê Ô Û #â $ê = a b d e f# g in A
  108. Debussy (1910): Voiles, bars 1-4; whole-tone scale c d e f# g#/a$ b$
  109. Rolling Stones (1965): Satisfaction ('but he can't be a man', etc.)
  110. Derek and the Dominoes (1970): Layla (chorus)
  111. A. C. Jobim (1960): Samba de una nota só
  112. D. Modugno (1958): Volare
  113. J. Kosma: Les feuilles mortes
  114. Cole Porter: I Get A Kick Out Of You (1934): rising
  115. The Wraggle Taggle Gypsies (Eng. trad., cit. mem.): falling
  116. Muddy Waters (cited by Miani, 1992); tumbling
  117. Nashville Teens: Tobacco Road (Loudermilk, 1964); intro, tumbling
  118. Beatles: Can’t Buy Me Love (1964); tumbling
  119. Ellington: Satin Doll (1953, start of middle 8); V-shaped
  120. Warszawjanka (Polish trad.): terraced (descent), V-shaped
  121. Billy J Kramer and the Dakotas: From A Window (1964): centric
  122. Mark Snow: X-Files Theme (1996); centric
  123. The Grand Old Duke of York (English trad.); V-shaped, terraced
  124. Beatles: If I Needed Someone (1965); oscillatory
  125. Ack Värmeland du sköna (Swedish trad.); arched (+ terraced descent)
  126. P. De Rose: Deep Purple; wavy
  127. Beatles: Yesterday (1965); wavy, falling, centric, rising
  128. (a) Misirlou; (b) E. Y. Harburg: Brother, Can You Spare A Dime
  129. Vigneault/Rochon: Je chante pour (1978)
  130. God Save the Queen: commutations of tonal vocabulary
  131. Faltermeyer: Axel F (1984) – (a) original; (b) as legato tune
  132. Song of the Volga boatmen (Russian trad.)
  133. Capstan Shanty Billy Boy (English trad., Northumbria)
  134. Ferlosio: El gallo negro.
  135. Comin’ Through The Rye (Scot. trad.)
  136. Library music hispanicism 1: Cordigliera (CAM (Italy))
  137. Library music hispanicism 2: Duncan: Wine Festival (Boosey & Hawkes)
  138. Library music hispanicism 3: Haider: Spanish Autumn (Selected Sounds)
  139. Poitín (Irish trad.) – semiquaver triplets
  140. Skye Boat Song (Scot. trad., cit. mem.)
  141. (a) Rossa’s Farewell to Erin (Irish trad.); (b) The Boys of Wexford (Irish trad.); (c) Soldier, Soldier (English trad.)
  142. Repeated final note cadence formulae. (a) John Barleycorn (English trad.); (b) The Banks of Newfoundland (English trad.); (c) The Kerry Recruit (Irish trad.); (d) The Bonny Labouring Boy (Irish trad.)
  143. Carissimi: Aria ‘I Triumph!’ (Vittoria!)
  144. Abba: Fernando (1975)
  145. Egyptian trad. (quoted from memory)
  146. Mameluk, a.k.a. Aya-Zehn (Egyptian trad.)
  147. Russian 5-4-1 melodic cadences: (a) V. Soloviov-Sedoy: Podmoskovskoye Vechera; (b) Aturov: Partisan Song
  148. Mikaelidagen (Swedish trad., cit. Ling, 1964: 114)
  149. Vårvindar friska (Swedish trad.)
  150. Grieg: Piano Concerto in A minor, Op. 16 (1868: start)
  151. Roy Milton: Hucklebuck (1949).
  152. Gershwin: A Foggy Day in London Town (1937) adapted from Middleton (1983:251).
  153. Melodic anaphora — (a) Silvers: April Showers; (b) Akst: Am I Blue? as quoted by Middleton (1983: 250).
  154. Rossini: William Tell Overture (1829) a.k.a. The Lone Ranger theme (1949); propulsive repetition (‘ready-steady-go!’)
  155. R. Schumann: Träumerei (1838)
  156. Carmichael. Stardust (1929)
  157. Charles Williams: The Dream of Olwen (1947)
  158. Ketèlbey: In A Monastery Garden (1915)
  159. J. Williams: Star Wars (1977); main theme
  160. J. Williams: Superman (1978); from main theme
  161. B. Kaper: The FBI theme (1965)
  162. A. Newman: How The West Was Won (1963); film theme
  163. W. Goldenberg: Kojak (1972); TV theme
  164. ‘Recitation’ melody — (a) Latin psalmody, tone 2 (plagal); (b) Brassens: Le gorille (1952); (c) The Who: Pinball Wizard (1969)
  165. Jesus Christ is Ris’n Today (Methodist Hymn Book, 1933, nº 204)
  166. Extract from Cuil Duibh-Re, as performed by Diarmuid O’Súillebháin (transcr. Tomás O’Canainn, repr. in Ling 1997: 92
  167. Extract from Guide Me O Thou Great Jehovah, Old Regular Baptist congregation; adapted from transcr. in Wicks (1989:73)
  168. Beatles: Not A Second Time (1963)
  169. Searchers: Goodbye, My Love (1965)
  170. Arpeggiated right-hand keyboard figures. (a) and (b) Animals: House Of The Rising Sun (1964): (a) as notated; (b) as heard; (c) Elton John: Your Song (1971): first chord.
  171. Heterophonic cadential formula in Greek Tsamiko music; (transcr. Chianis, 1967)
  172. Hebridean Home Worship: 5-voice heterophonic version of Martyrdom (Psalm 84); transcr. Thorkild Knutsen (1968).
  173. Martyrdom (Congregational Praise, no. 390, b. 1-8)
  174. Old 100th (French Psalter, 1551)
  175. Cwm Rhondda (refrain) (John Hughes, 1873-1932)
  176. Abba: Fernando (1975): repeat and fade
  177. Call and response overlap: Please Mr. Postman (Marvelettes, 1961
  178. Melodic line, lead and bass in Satisfaction (Rolling Stones, 1965) ('but he can't be a man', etc.)
  179. I vi ii7 V7 sequence (‘vamp’) in C and D major
  180. C major triad inverted ?
  181. Half/imperfect cadence halfway: ¡Y viva España (Vrethammar, 1973) Ch8
  182. Uninterrupted final cadence on vi: Um Um Um Um Um (Wayne Fontana and the Mindbenders, 1964: final chorus and ending).
  183. Rolling Stones: Brown Sugar (1971). Clockwise circle-of-fifths progression through plagal ornamentation of aeolian cadence $VI-$VII-I.
  184. Mendelssohn: Oh! For the Wings of a Dove.
  185. James L Molloy: Love’s Old Sweet Song (1882)
  186. Subdominant second inversion as second chord: outline keyboard arpeggiation. (a) J S Bach: Prelude in C major from Wohltemperiertes Klavier, I (1722); (b) Elton John: Your Song (1970, transposed to C)
  187. Inversions through descending bass in major key: (a) J S Bach: Air from Orchestral Suite in D Major (1731); (b) Procol Harum: A Whiter Shade of Pale (1967, transposed from C); (c) Morricone: ‘Gabriel’s Oboe’ (1986); (d) bass line common to all.
  188. Altered supertonic seventh chord in fourth inversion: (a) Mozart: Ave verum corpus, K618 (1791); (b) Procol Harum: Homburg (1967b);
    (c) Abba: Waterloo (1974b)
  189. Farnaby: Loth to Depart (c.1610): aeolian harmonies with major tonic triad (I iv $III iv [$VI $VII])
  190. Darling Corey (Watson 1963): major tonic triad for minor mode tune
  191. Weelkes: Hark, All Ye Lovely Saints (c.1610)
  192. Slide guitar chords (opening tuning E) for Vigilante Man (Guthrie), adapted from Cooder (1971)
  193. Rolling Stones (1971): Bitch (start, approximation for acoustic piano).


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