Different songs.
The same shape.

The method

One field is a collection, not a key.

Each field is the union of the pitch classes implied by the source’s chord symbols. Octaves, doublings, chord order and duration are ignored. Two fields share a circle only when they are exactly equal after transposition. Inversions of a set are kept separate; no tonic is chosen.

Whole analysis combines every annotated harmony in the song. Passages follow the source’s top-level formal units. Repeated units with identical notes are shown once; a transposed return remains separate. A 12-note whole field can be the result of several smaller fields or changing keys. It does not imply constant chromatic saturation.

This first collection uses David Temperley’s harmonic analyses in the RS 200 rock corpus, created with Trevor de Clercq. These are scholarly reductions made by ear, not exhaustive audio transcriptions. The authors sometimes disagree; this catalogue consistently uses Temperley’s reading. Passage names are editorial expansions of source labels, which remain visible on each song page.

Notes are calculated using the corpus’s chord conventions, including sevenths, suspensions, applied chords and local key changes. Standard chord tones can be implied even where a recording omits them. This is a catalogue of harmonic readings, not a claim that every displayed note is audibly played. The selection is rooted in the Rolling Stone corpus and is not exhaustive.