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

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

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• VI - II - V - I chords (RH only)
• VI - II - V - I in trad jazz, swing and bebop with tritone substitutions
• Abba: Fernando (1976) — full score, English lyrics, museme tables, PDF 26 pp.
• Abba: The Winner Takes It All (1980) — piano intro w ldsht
• Abba: The Visitors (1981) — verses ldsht, mel
• Abba: The Visitors (1981) — mixolydian loop (‘crackin' up’, etc.) with lead vocal obligato mel×2, ldsht
• Abba: Under Attack (1982): intro — kbd red.
• Adhan (morning) in Hijaz.
• Aeolian/phrygian (hypoæolian) tertial harmony: bimodal reversibility
• Amazing Grace (UK./US trad.) — mel. in F and v. 1 lyrics only)
• Am I Blue? (Akst)
• Απ' τον περισμένο Μαρτη (Χάρις Αλεξίου/Haris Alexiou)
• April Showers + Am I Blue (Akst)
• Asa Branca (Gonzaga)
• Auld Lang Syne (Scottish Trad.) — mel. only in Eb.
• Axel F (Faltermeyer) and as pastorale.

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• Bagpipe chanter mixolydian in A and in Bb.
• Bartók Divertimento - mel. start.
• Bartók: Sonata pf & percussion (III: theme).
• Bartók: Romanian Dance 3.
• Bartók: Romanian Dance 4.
• Bartók: Romanian Dance 5-6.
• Bartók: String Quartet 2: III — stacked fourths.
• Bartók: Szonatina Zongorara (Dudások).
• Beethoven: Symph. 5: theme 8 bars.
• Beethoven: Symph. 7 and Satisfaction.
• Beregovski Sher (Klezmer).
• Billy Boy (Northumbrian Trad.).
• Bitch (Rolling Stones): riff.
• Bizet: Gypsy Dance from Carmen (intro) .
  
• The Blacksmith (Eng. trad. via Steeleye Span, 1971; mel & lyrics v.1)
• Blazing Saddles (mel.).
• Blues figures in F (12/8, piano, stereotypical.
• Blues minor dorian triads.
• Blues modes (quasi-pentatonic)
• Boom Boom (Animals/Hooker): intro (4 bars).
• Borodin: In the Forest.
• Borodin: Sleeping Princess.
• Bulgari/Българи (Ермалък/Ermálak, 1992; Hijaz, 7/8).
• Bus Stop (Hollies).

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• Cade’s County (motif).
• Cape Horn (shanty).
• Carissimi appoggiature.
• Chopin: Marche funèbre (mel.).
• Chorale harmony and barré chord parallels (5ths/8ves).
• Chord Chart in C (legend)
• Chord Chart in C: major (1)
• Chord Chart in C: major (2)
• Chord Chart in C minor and others.
• Circle of fifths (standard).
• Circle of fifths bass lines. | 7th chord chains in C, Db and G#m.
• Cordigliera (CAM library music).
• Csárdas (Vittorio Monti - start) .
• The Cuckoo Bird (Ashley: short extracts).
• Cuil Duibh-Re, as performed by Diarmuid O’Súillebháin (keening/caoine).
• Cwm Rhondda in Welsh and A flat.

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• Dakota (Shadows).
• Darling Corey (mel.).
• Debussy: Voiles (whole-tone).
• Debussy: Pour le piano (4ths).
• Diamonds On The Soles Of Her Shoes | bass figures | brass riff
• Dixie Chicks: Not Ready To Make Nice (mel & lyrics, all): | page 1 | page 2 | page 3.
• Doh-pentatonic mode in Eb and E .
• Dorian pentatonic triads.
• The Dream of Olwen (C. Williams): mel. + ldsht.
• Drumkit notation key
• Drunken Piper (orig.) | simplified.
• Drunken Sailor (What shall we do with the) | with ldhsht.
• Duel in the Sun (Tiomkin, mixolydian theme).
• Dvořák New World, Gm ragtime theme.

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• The East Is Red (tune only; 4 bars).
• Easter Morn: Jesus Christ is Ris’n Today (Methodist Hymn Book, 1933, nº 204).
• Egyptian trad. tune in 10/4.
• Elhunyt táncos barátaink emlékére (212 bpm, István Pál).
• Ермалък/Ermálak: Bulgari/Българи (1992; Hijaz, 7/8).
• Estribillo de vito (Córdoba).
• Estribillo de Zorongo.
• Euroclassical modes (1 ‘major’ and 3 ‘minor scales’.

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• de Falla: Farruca chords.
• Falling and rising rising fifths
• Farewell to Erin (Irish trad. basic mel, 32 bars).
• Farnabye: Loth To Depart (bars 1-2).
• Farruca (de Falla, 2 chords).
• FBI Theme (B Kaper).
• The Female Drummer (Steeleye Span, 1971: tune only with v. 1 lyrics)
• The Female Drummer (Steeleye Span, 1971: tune, all lyrics + gtr intro)
• The Female Drummer: modes.
• Fernando (Abba): appoggiature only.
• Firuze (Sezen Aksu, hijaz)
• Flamenco cadence (Soleá).
• Flamenco compas (Soleá).
• Flamenco falseta for Lorca poem.
• Flamenco guitar slurs (Herrero, estudio).
• A Foggy Day In London Town (Gershwin)
• The Foggy Dew + Joy To The World.

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• Ghostbusters theme riff (Ray Parker Jr)
• Gloomy Sunday.
• God Rest You Merry Gentlemen.
• God Save The Queen.
• Goodbye My Love melismas (Searchers).
• Great Jehovah (‘Hold me with thy powerful hand’): snakin' the voice.
• Grieg A minor piano concerto: start chords.

• 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).

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• I’m Your Kingpin (quartal groove; Manfred Mann).
• In A Monastery Garden (Ketelbye).
• It’s Not Unusual (Tom Jones).
• I've Always Been A Rambler.
• Je Chante Pour (Vigneault/Rochon, start).
• Johnny Comes Marching Home.
• Jolene (Dolly Parton)
• Joy To The World + The Foggy Dew.

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• Ketelbye: In A Persian Market (pseudo-Hijaz).
• Kojak theme (Goldenberg, 1972-3) complete (50 secs., 4 staves/system, 4 pp.) | Kojak: MP1 only.
• Kind Hearted Woman Blues (Robert Johnson).
• Kyrie eleison (aeolian in D).

• Laïkoi Dromoi/Λαϊκοι Δρόμοι (popular Greek modes applet screen shot).
• Lambada (Kaoma).
• La-pentatonic mode in G, E, B.
• The Lark In The Morning (Steeleye Span, 1971: mixolydian tune with refr lyrics).
• Lawrence of Arabia (Jarre).
• Liviana (Fosforito).
• Loth To Depart (Farnabye): start.
• Love’s Old Sweet Song (Molloy).
  
• The Lowlands of Holland (Steeleye Span, 1970: tune only with last verse lyrics).
• Lydian flat seven mode (+ ‘half diminished’).

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• Malagueña lick (typical).
• Malagueña start (Puebla).
• Málamas: Prigkipessa (all); outro | whole song
• Mameluk/Aya-Zehn (Egypt trad.)
• Maqamat Rast, Bayati, Nahawand, Nawa Athar, Hijaz and Kurd. | Names in Arabic.
• Mastika (Slobo Horo).
• McPherson’s Farewell (Scot. trad: doh-hexatonic; 1 verse lyrics and tune only).
• Mendelssohn: Oh! For the Wings of a Dove.
• Metallica: gtr in Hijaz fr Wherever I May Roam.
• Mikaelidagen (Sw. trad.).
• Mila moja (Serb. trad.).
• Midnight In Moscow + The Partisans.
• Misirlou in 7/8.
• Money's Too Tight To Mention (Valentine Bros.).
• Moanin' (Bobby Timmons/Art Blakey).
• Mozart: Symph 40 I Gm K550: 1st theme 4 bars.

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• 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.

• Octatonic mode ×2: 1 ½ 1 ½ etc.
• Octava bassa explanation.

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• Parker (Jr), Ray: Ghostbusters theme riff (Ray Parker Jr)
• Partisans' Song ((По долинам и по взгорьям: Ru. trad., aeolian).
• Pentatonic anhemitonic modes (all 5) on white notes only or black notes only (+ hirojoshi)
• Pentatonic anhemitonic mode chart with note names, scale degrees and keyboard
  
• Pentatonic anhemitonic doh-mode in Eb and E
• Pentatonic anhemitonic la-mode in G, E and B
• Pentatonic anhemitonic with piano keys
• Pentatonic minor mode tertial triads
• Pentatonic modes descending: blues major and minor + hirajoshi..
• Pentatonic trichords.
• “Phrygian ‘dominant’” [sic!] (Campese).
• Phrygian C# (iv bIII bII I) from aeolian F# (i iv V) (Puebla, gtr.).
• Phrygian and Hijaz (frigio mayorizado).
• Phrygian (hypoæolian) tertial harmony (bimodally reversed æolian)
• Pick of the Pops (Brian Fahey) — BBC signature, lydian b7.
• The Pink Panther (Henry Mancini); exaggerated b5s.
• По долинам и по взгорьям (partisan song) .
• Подмосковское Вечера + Amur Partisans (По долинам и по взгорьям): endings only.
• The Poor Murdered Woman (Eng. trad. via Steeleye Span, 1970; tune and ldsht chords only).
• Power fifths with 5f overtones in E.
• Power chord harmonics (incl. difference tone) on A (adapted from Lilja, 2009: 113)
• Prigkipessa/Πριηκιπεσσα (Μάλαμας).
• Psalm Tone II (Sicut erat...). .

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• Quartal chords (simplified selection).
• Quartal key clock with stacked 4ths.
• Quartal C in 3 positions with associated pentatonic modes.
• Quartal triads with different bass notes.
• Quartal and tertial chords
• Quartal chords in The Tailor And The Mouse
• Quartal chords in Debussy’s Sarabande (Pour le piano).
• Quartal stack same notes as quintal stack.
• Quinquenita (La flûte indienne: mel. w ldsht).

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• Recitation tones: Gloria in exc., Brassens, The Who.
• Roman-numeral tertial triads for all church modes.
• Romeo & Juliet (Nino Rota) mel phrase 1.
• Round Cape Horn (mixolydian, Eng. trad.)
• Round About Midnight (Thelonius Monk): approx. piano transcr. with ldsht chords; 1st 8 bars and end.

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• Satisfaction and Beethoven’s 7th.
• Searchers: Goodbye My Love melismas.
• Sevillana 3 (w low-str 4 b3 b2 1 descent).
• Siqueira: Cantoria de cego II (mel.).
• Shaft (Hayes): 14 musemes.
• She Moved Through The Fair (w words in D) | Mel. only.
• The Simpsons Theme (Danny Elfman; lydian b7).
• Skye Boat Song (Scot. trad.).
• Sloane (‘Be thou my vision’; pentatonic, Irish trad., 1st ½ of tune only).
• Somebody Touched Me (Alex Bradford); major blues pentatonic.
• So What? (Miles Davis): opening in D and Eb dorian: piano reduction; w. D dorian scale degrees.
• Stardust (Carmichael) mel. 4 bars.
• Star Wars (J Williams): main theme (mel. only).
• Sting: Seven Days (start) + Manfred Mann Kingpin groove.
• Stormy Six: Panorama (Tommaso Leddi) from Al Volo (1982) also as MP3.
• Superman (J Williams): opening motif, main theme.

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• 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.

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• Um Um Um Um Um (Lance): end (4 bars: mel., lyrics, ldsht) as rec by Wayne Fontana & The Mindbenders.
• Valentine Brothers: Money's Too Tight To Mention.
• Vamp chords (RH only)
• Van Dieman’s Land (Eng. trad. via Steeleye Span, 1970; la-pentatonic + maj 2; tune, counterpoise points, lyrics v. 5).
• Vårvindar friska (Sw. trad. mel. 4 bars).
• Verbunkos Rhapsody/Kókai Rezső (Tivadar Mészáros; Gypsy band in C Nikriz).
• Vigilante Man (Guthrie via Cooder, adapted).
• Vilborg på kveste (Norw. trad. via Folk och Rackare): Lydian Hardingfele.

• Weelkes: Hark All Ye Lovely Saints (falalalala part).
• What Wond'rous Love Is This? (US trad., quartal ré-sol hexatonic: 1 2 4 5 ^6 b7) Hear recording.
• Which Side Are You On? (Florence Reece; lyrics v.1, tune only).
• Whole-tone scales × 2.
• Wild About That Thing (Bessie Smith); 12-bar major blues pentatonic.
• William Tell Overture (Rossini): chase; propulsive repetition (ready-steady-go hierarchies).

• You Really Got A Hold On Me (Smokey Robinson and the Miracles).
• You've Lost That Lovin' Feelin' (Righteous Bros; 1st 2 phrases mel.).
• ¡Y Viva España! (Sylvia Vrethammar); mel., ldsht. vv. 1-2 + refr.). | Refr. w. half cadence.
• Yīgdal (Klezmer); 8 bars Hijaz.

• Zigeunerweisen (Sarasate); start solo vln.

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).