Music Examples (notation/transcription)
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Abbreviations
gtr = guitar
ldsht = lead sheet chord shorthand
mel = melody
rec = recorded/recording
- Half-diminished scale.
- Harmonic series 0 - 8 (27.5 - 524 Hz)
- Hasta la victoria siempre (Carlos Puebla, 1965; mel. & partial lyrics w ldsht)
- Hasta la victoria siempre guitar intro (Carlos Puebla, 1965; gtr. intro)
- Hava Nagila.
- Hebridean heterophony.
- Heinlein (165 in 1933 Methodist Hymn Book: ‘40 days & 40 nights' incl. pedal part for ‘prowling beasts')
- Heptatonic ‘church’ modes in C and E
- Heptatonic mode steps table.
- Heptatonic non-diatonic modes [1] | [2] .
- Heptatonic tetrachords: — [1] do, ré, mi, Hijaz (symmetrical); [2] 12 modes; [3] do, ré, mi.
- Heterophony: tsamiko (Greek, 2 bars).
- Hexatonic modes (basic).
- Hindemith: Mathis der Mahler II (Grablegung) — 1st 20 seconds .
- Hirajoshi mode descending [1] | [2].
- House Of The Rising Sun: arpeggios.
- How the West was Won (A Newman): theme (1963).
- Freddie Hubbard: Red Clay (short extract, 4th chords).
- Hucklebuck (Do the) (Roy Milton).
- Hugh Reynolds, Ballad of (mixolydian Irish trad: tune only in D); w lyrics in D.
- Hughes (arr.) She Moved Through The Fair (quartal ending).
- Hurt (Johnny Cash).
- Hypomodes (ionian, dorian, phrygian, mixolydian, æolian).
- Nationalteatern/Sillstryparn: Doin’ the omoralisk schlagerfestival (mel., ldsht., lyrics).
- Night Boat To Cairo (Madness); mel. Hijaz in F).
- Night In Tunisia (Dizzy Gillespie).
- Non-diatonic modes: whole-tone, octatonic, Hijaz, Pūrvi.
- Norwegian Wood (Beatles); 1 mixolydian phrase.
- Not A Second Time (Beatles, 1964: last 14 bars: tune with ldsht chords)
- Note names (English, German, French, sol-fa, rāga tradition) in heptatonic la- (A-) and doh- (C-) modes.
- The Tailor And The Mouse (Eng. trad., tune only, words of last verse). (drone chords)
- The Tailor And The Mouse (Eng. trad., tune with droned accompaniment). (drone chord w ‘ldsht’)
- The Tailor And The Mouse (Eng. trad., quartal chords on each bass note).
- Taladh Chriosda (Scot. trad. mixolyd.); Alleluia; (w scale degrees).
- Tertial and quartal chords.
- Tetrachords: heptatonic — [1] do, ré, mi, Hijaz (symmetrical); [2] 12 modes; [3] do, ré, mi
- Three-Cornered Hat farruca chords (De Falla)
- Tertial triads for all scale degrees in heptatonic modes.
- Traumerei (Schumann).
- Τρείς η ώρα νύχτα (Αλεξίου): outro.
- Tubae: Gloria in exc., Brassens, The Who.


By example number
- Subtonic or leading note? (a) Handel: hymn tune Antioch (‘Joy To The World’); (b) The Foggy Dew (Irish trad.).
- UK national anthem (God Save The Queen) - melody only
- Fictitious God Save The Queen (also in ionian G)
- Simon & Garfunkel (1966): Scarborough Fair (Eng. trad.) E dorian
- Steeleye Span (1971): The Blacksmith (Eng. trad.); D dorian
- The Drunken Sailor (Eng. trad., cited from memory; D dorian )
- Noël Nouvelet (Fr. Trad., cited from memory); D dorian
- Sokrates Málamas (2005): ‘Princess’; E phrygian (dromos Ousak)
- Cordigliera (Italian library music, n.d., CAM 004); D phrygian
- Samuel Barber: Adagio for Strings, bars 4-8; F phrygian
- (a) Danny Elfman (1989): The Simpsons theme, lead motif; C lydian
(b) Brian Fahey (1960): BBC Pick of the Pops motif; C lydian
- Romanian Polka from Romanian Dances (arr. Bartók, 1915); D lydian
- She Moved Through The Fair (Brit./Ir. Trad. cit. mem.) D mixolydian
- Tàladh Chriosda (Scot. Gael. trad. via A. Cormack, 2011); mixolydian E$
- The Lark In The Morning (Eng. trad. via Steeleye Span, 1971).
B mixolydian; $ê = a@)
- The Lamentation of Hugh Reynolds (from Irish Street Ballads,
1939). D mixolydian; $ê = c@.
- I’ve Always Been A Gambler (US Trad. via New Ruby Tonic
Entertainers, 1974, v Betsy Rutherford). G mixolydian; $ê = f@.
- Luiz Gonzaga (Senior): Asa branca (1955). G mixolydian; $ê = f@.
- Righteous Brothers: You’ve Lost That Lovin’ Feelin’, start of v. 1
(1964); C mixolydian; $7=b$
- Beatles: Norwegian Wood, sitar intro (1965b). E mixolydian; $7=d@
- Mozart: Symphony no. 40 in G minor (I) (1788), bars 1-4; G æolian.
- Beethoven: Symphony no. 5 in C minor (I) (1808), bars 6-13; C æolian
- Chopin: Marche funèbre (1839); B$ æolian
- Kyrie ‘Orbis Factor’: aeolian in D
- Billie Holiday: Gloomy Sunday (1941): vocal line, verse 2; G æolian
- Theme from Romeo & Juliet (1968); A æolian $Î-Ê
- Aerosmith: Janie’s Got A Gun (1989: 4:04-4:34 ); F æolian $Î-Ê
- Nirvana: Smells Like Teen Spirit (1991, verse); F æolian $Î-Ê (a$-g).
- Nirvana: Lithium (1991, chorus ); D æolian $Î-Ê (f-e)
- God Rest You Merry, Gentlemen (Eng. trad., cit. mem.) D aeolian
- Arturov: Amur Partisan Song (mel. cit. mem.); D aeolian
- Kaoma: Lambada (1989). D aeolian (d e f g a b$ c = Â Ê $Î Ô Û $â $ê)
- Egyptian traditional song; Nahawand in A (1973)
- Maurice Jarre: Lawrence of Arabia (1963); quasi-Hijaz/Kurd in D
- 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 $ê.
- Madness: Night Boat To Cairo (1980); quasi-Hijaz hexatonic in F;
f g$ a@ b$ c e$ = Â $Ê #Î Ô Û $7
- Dizzy Gillespie: A Night In Tunisia (1957); quasi-Nawa Athar and ‘Gypsy Hungarian’ in D. <Â [$Ê] $Î #Ô Û $ê >$ê $â Û Ô $2 Â
- Sokrates Málamas (2005): ‘Princess’; E phrygian (δρόμος Ουσάκ);
e f@ g a b c d in E = Â $Ê $Î Ô Û $â $ê.
- 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
- 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 $ê.
- Beregovski’s Sher (Klezmer); ‘Freygish’, i.e. Hijaz;
d e$ f# g a b$ c in D = Â $Ê #Î $Ô Û $â $ê.
- Haris Alexiou [Χάρις Αλεξίου] ‘Ap’ ton perasméno Márti’, bars 9-14; Λαϊκές Κυριακές (1976); Hijaz in A: a b$ c# d e f g = Â $Ê #Î $Ô Û $â $ê.
- Ермалък/Ermálak (1992): Българи (=Bulgarians); Hijaz in B$
b$ c$ d@ e$ f g$ a$ = Â $Ê #Î $Ô Û $â $ê.
- Iron Maiden: Powerslave (1984: 0:00-0:35, 0:36, ff.); bars 1-2 phrygian in A, bars 3-7 Hijaz Kar in A: a b$ c# d e f g# a = Â $Ê #Î $Ô Û $â #ê.
- 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.
- 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
- Scale exercises in F# Hijaz (Â $Ê #Î Ô Û $â $ê), example 1 in lesson ‘Phrygian dominant’ (sic) for metal guitarists (Campese, 2009)
- Misirlou a.k.a ‘Song of the Crickets’ (Afghanistan trad., n.d). Hijaz Kar in D; d e$ f# g a b$ c# = Â $Ê #Î $Ô Û $â #ê
- Óscar Herrero (2004): Flamenco Guitar, Estudio N° 19 - Ligados;
repeated Hijaz tetrachord 1 $2 #3 4
- Estribillo de Zorongo; Hijaz and phrygian in E: Hijaz #Î-Ô (g#-a, ascending); phrygian Ô-$Î-$2-Â (a-g@-f@-e, descending).
- Fosforito: Liviana (simplified); Hijaz and phrygian in G#; #Î-Ô-Û (b#-c#-d#, ascending); phrygian Û-Ô-$Î-$Ê-Â (d#-c#-b@-a@-g#, descending)
- Flamenco cadence chords (Soleá)
- Estribillo de Vito (baile popular cordobés; cit. Fernández, 2004: 46)
- Juan Serrano (2002): Sevillana III; Ô-$Î-$Ê-Â descent, bars 5-7.
- Sylvia Vrethammar (1973): Y viva España (v. 1 & 2)
- Sarasate (1878) Zigeunerweisen (start of solo violin part); harmonic
minor (Nahawand) in C (bars 5-6): Â-Ê-$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#.
- 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#.
- 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.
- 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
- 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 $ê
- Bartók (1939) Divertimento for String Orchestra (I), b. 2-8;
Nikriz in F; f g a$ b@ c d e$ = Â Ê $Î #Ô Û #â $ê.
- Standard blues piano motifs in F (over F and B$ in Q )
- 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@
- 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$
- 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).
- 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 $ê (except Hijaz cadence, b. 8).
- Danny Elfman (1989): The Simpsons theme, lydian flat seven in C;
c d e f# g a b$ = Â Ê #Î #Ô Û #â $ê
- Morning adhan (call to prayer), Al-Aqsa mosque, Jerusalem (2013)
- Vigneault/Rochon (1973): Je chante pour (octatonic opning phrase)
- Cree Indian duck song (tetratonic: a c d e)
- Psalm tone 2 (quasi-tetratonic: c d [e] f g)
- Children’s tritonic taunting chant (e g a)
- Lynyrd Skynyrd: Sweet Home Alabama (1974); d e f#/1 2 #3
- The Crystals: Da Doo Ron Ron (1963); e$ f g / 1 2 #3
- ‘Sloane’ (Irish trad.), b. 1-8 (doh-pentatonic in E$)
- The East Is Red ( 东方红 - Chinese trad.), b. 1-4 (doh-pentatonic in E)
- Skye Boat Song (Scot. trad., cit. mem.); doh-pentatonic in G $ (black keys)
- Amazing Grace (1835; mel. cit. mem.); doh-pentatonic in F
- Johnny Cash: Hurt (2009; la-pentatonic A)
- The Coo-Coo Bird’ (US trad., via Ashley, 1929; la-pentatonic G)
- Boom Boom’ (Animals, 1964b, covering Hooker, 1963; la-pentatonic E)
- Shady Grove (US trad. via Clarence Ashley, ré-pentatonic A
- The Braes of Lochiel (Scot. trad., bars 1-5; ré-pentatonic A)
- Lowlands Of Holland (UK. trad./Steeleye Span, 1970; ≈ ré-pentatonic C#)
- ‘Female Drummer (Eng. trad. via Steeleye Span, 1971; ≈ ré-pentatonic C)
- Alex Bradford (1955): Somebody Touched Me
- Smokey Robinson & The Miracles (1963) You Really Got A Hold On Me
- Bessie Smith (1929) I’m Wild About That Thing
- Robert Johnson (1936): Kind Hearted Woman Blues
- Valentine Brothers (1982): Money’s Too Tight To Mention, 2:15-2:33
- Bobby Timmons (1958): Moanin’; $5 as bop blues
- Henry Mancini (1963): The Pink Panther (repeated $Û extract)
- Cream: Sunshine Of Your Smile (1968): blues la-pentatonic riff in A
- Deep Purple: Smoke On The Water (1972a, 0:26-0:35): opening guitar riff with bass, blues la-pentatonic in G
- ‘This Old Man’ (Eng. trad., cit. mem.) doh-hexatonic;
Â Ê #Î Ô Û #â = d e f# g a b in D)
- ‘The Claudy Banks’ (Eng. trad., via The Albion Country Band, 1970);
doh-hexatonic Â Ê #Î Ô Û #â = e f# g# a b c# in E)
- MacPherson’s Farewell (Scot. trad., mel. cit. mem.);
doh-hexatonic Â Ê #Î Ô Û #â = f g a b$ c d in F
- Tom Jones: It’s Not Unusual (1965); doh-hexatonic in C (no b@)
- Ye Jacobites By Name (Scot. trad. via The Corries, 1971); la-hexatonic F
- The Maid Of Coolmore (Ir. trad. via Bothy Band, 1976); la-hexatonic B
- When Johnny Comes Marching Home (US trad.); la-hexatonic G
- Florence Reece: Which Side Are You On? (1931); la hexatonic E
- Hollies: Bus Stop (1966); la hexatonic A
- Dolly Parton: Jolene (1973); la-hexatonic C#
- ‘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.
- 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)
- Tiocfaidh an samhradh (Ir. trad. via Breathnach, 2007); ré-hexatonic A;
Â Ê Ô Û #â $ê = a b d e f# g in A
- Debussy (1910): Voiles, bars 1-4; whole-tone scale c d e f# g#/a$ b$
- Rolling Stones (1965): Satisfaction ('but he can't be a man', etc.)
- Derek and the Dominoes (1970): Layla (chorus)
- A. C. Jobim (1960): Samba de una nota só
- D. Modugno (1958): Volare
- J. Kosma: Les feuilles mortes
- Cole Porter: I Get A Kick Out Of You (1934): rising
- The Wraggle Taggle Gypsies (Eng. trad., cit. mem.): falling
- Muddy Waters (cited by Miani, 1992); tumbling
- Nashville Teens: Tobacco Road (Loudermilk, 1964); intro, tumbling
- Beatles: Can’t Buy Me Love (1964); tumbling
- Ellington: Satin Doll (1953, start of middle 8); V-shaped
- Warszawjanka (Polish trad.): terraced (descent), V-shaped
- Billy J Kramer and the Dakotas: From A Window (1964): centric
- Mark Snow: X-Files Theme (1996); centric
- The Grand Old Duke of York (English trad.); V-shaped, terraced
- Beatles: If I Needed Someone (1965); oscillatory
- Ack Värmeland du sköna (Swedish trad.); arched (+ terraced descent)
- P. De Rose: Deep Purple; wavy
- Beatles: Yesterday (1965); wavy, falling, centric, rising
- (a) Misirlou; (b) E. Y. Harburg: Brother, Can You Spare A Dime
- Vigneault/Rochon: Je chante pour (1978)
- God Save the Queen: commutations of tonal vocabulary
- Faltermeyer: Axel F (1984) – (a) original; (b) as legato tune
- Song of the Volga boatmen (Russian trad.)
- Capstan Shanty Billy Boy (English trad., Northumbria)
- Ferlosio: El gallo negro.
- Comin’ Through The Rye (Scot. trad.)
- Library music hispanicism 1: Cordigliera (CAM (Italy))
- Library music hispanicism 2: Duncan: Wine Festival (Boosey & Hawkes)
- Library music hispanicism 3: Haider: Spanish Autumn (Selected Sounds)
- Poitín (Irish trad.) – semiquaver triplets
- Skye Boat Song (Scot. trad., cit. mem.)
- (a) Rossa’s Farewell to Erin (Irish trad.); (b) The Boys of Wexford (Irish trad.); (c) Soldier, Soldier (English trad.)
- 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.)
- Carissimi: Aria ‘I Triumph!’ (Vittoria!)
- Abba: Fernando (1975)
- Egyptian trad. (quoted from memory)
- Mameluk, a.k.a. Aya-Zehn (Egyptian trad.)
- Russian 5-4-1 melodic cadences: (a) V. Soloviov-Sedoy: Podmoskovskoye Vechera; (b) Aturov: Partisan Song
- Mikaelidagen (Swedish trad., cit. Ling, 1964: 114)
- Vårvindar friska (Swedish trad.)
- Grieg: Piano Concerto in A minor, Op. 16 (1868: start)
- Roy Milton: Hucklebuck (1949).
- Gershwin: A Foggy Day in London Town (1937) adapted from
Middleton (1983:251).
- Melodic anaphora — (a) Silvers: April Showers; (b) Akst: Am I Blue?
as quoted by Middleton (1983: 250).
- Rossini: William Tell Overture (1829) a.k.a. The Lone Ranger theme (1949); propulsive repetition (‘ready-steady-go!’)
- R. Schumann: Träumerei (1838)
- Carmichael. Stardust (1929)
- Charles Williams: The Dream of Olwen (1947)
- Ketèlbey: In A Monastery Garden (1915)
- J. Williams: Star Wars (1977); main theme
- J. Williams: Superman (1978); from main theme
- B. Kaper: The FBI theme (1965)
- A. Newman: How The West Was Won (1963); film theme
- W. Goldenberg: Kojak (1972); TV theme
- ‘Recitation’ melody — (a) Latin psalmody, tone 2 (plagal); (b) Brassens: Le gorille (1952); (c) The Who: Pinball Wizard (1969)
- Jesus Christ is Ris’n Today (Methodist Hymn Book, 1933, nº 204)
- Extract from Cuil Duibh-Re, as performed by Diarmuid O’Súillebháin (transcr. Tomás O’Canainn, repr. in Ling 1997: 92
- Extract from Guide Me O Thou Great Jehovah, Old Regular Baptist congregation; adapted from transcr. in Wicks (1989:73)
- Beatles: Not A Second Time (1963)
- Searchers: Goodbye, My Love (1965)
- 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.
- Heterophonic cadential formula in Greek Tsamiko music;
(transcr. Chianis, 1967)
- Hebridean Home Worship: 5-voice heterophonic version of Martyrdom (Psalm 84); transcr. Thorkild Knutsen (1968).
- Martyrdom (Congregational Praise, no. 390, b. 1-8)
- Old 100th (French Psalter, 1551)
- Cwm Rhondda (refrain) (John Hughes, 1873-1932)
- Abba: Fernando (1975): repeat and fade
- Call and response overlap: Please Mr. Postman (Marvelettes, 1961
- Melodic line, lead and bass in Satisfaction (Rolling Stones, 1965) ('but he can't be a man', etc.)
- I vi ii7 V7 sequence (‘vamp’) in C and D major
- C major triad inverted ?
- Half/imperfect cadence halfway: ¡Y viva España (Vrethammar, 1973) Ch8
- Uninterrupted final cadence on vi: Um Um Um Um Um (Wayne Fontana and the Mindbenders, 1964: final chorus and ending).
- Rolling Stones: Brown Sugar (1971). Clockwise circle-of-fifths progression through plagal ornamentation of aeolian cadence $VI-$VII-I.
- Mendelssohn: Oh! For the Wings of a Dove.
- James L Molloy: Love’s Old Sweet Song (1882)
- 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)
- 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.
- Altered supertonic seventh chord in fourth inversion: (a) Mozart: Ave verum corpus, K618 (1791); (b) Procol Harum: Homburg (1967b);
(c) Abba: Waterloo (1974b)
- Farnaby: Loth to Depart (c.1610): aeolian harmonies with major tonic triad (I iv $III iv [$VI $VII])
- Darling Corey (Watson 1963): major tonic triad for minor mode tune
- Weelkes: Hark, All Ye Lovely Saints (c.1610)
- Slide guitar chords (opening tuning E) for Vigilante Man (Guthrie), adapted from Cooder (1971)
- Rolling Stones (1971): Bitch (start, approximation for acoustic piano).
