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Radiohead · 1997

Paranoid Android

11 notes across the harmonic analysis · 4 different passage shapes.

Chord-derived pitch classes, after David Temperley. The melody and other unannotated notes are not included. Method & limits

C5G6D7A8E9B10G♭D♭0A♭1E♭2B♭3F4

All annotated harmonies combined

Whole analysis

Circle 2047 · 11 notes

C · D♭ · D · E♭ · E · F · G · A♭ · A · B♭ · B

Does not fit inside one diatonic scale. This combines notes across time; compare the passages below to see where the field changes.

C3G4D5A6E7BG♭D♭A♭E♭0B♭1F2

Source passage · In

Intro

Circle 255 · 8 notes

C · D · E♭ · E · F · G · A · B♭

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

C3G4D5A6E7BG♭D♭A♭E♭0B♭1F2

Source passage · Vr

Verse

Circle 255 · 8 notes

C · D · E♭ · E · F · G · A · B♭

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

CG5D6A7E8B9G♭D♭A♭0E♭B♭2F3

Source passage · Ch

Chorus

Circle 735 · 8 notes

D · E · F · G · A♭ · A · B♭ · B

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

C4G5D6A7E8BG♭D♭A♭0E♭1B♭F3

Source passage · Br1

Bridge 1

Circle 447 · 8 notes

C · D · E♭ · E · F · G · A♭ · A

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

C5G6D7A8E9B10G♭D♭0A♭1E♭2B♭3F4

Source passage · Br2

Bridge 2

Circle 2047 · 11 notes

C · D♭ · D · E♭ · E · F · G · A♭ · A · B♭ · B

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

C4G5D6A7E8BG♭D♭A♭0E♭1B♭F3

Source passage · Br3

Bridge 3

Circle 447 · 8 notes

C · D · E♭ · E · F · G · A♭ · A

Does not fit inside one diatonic scale. This field belongs to this passage, not necessarily the whole song.

Source & interpretation

David Temperley’s harmonic analysis of Paranoid Android ↗, from the de Clercq–Temperley RS 200 corpus. Retrieved 19 October 2026.

The complete field includes all harmonies in the source’s S rule. The passages are its named top-level units; direct chords outside those units still contribute to the whole field. Repeated units with the same notes are merged. Labels such as “Passage A” preserve the source where a conventional section name is not given.

Notes and circle assignments are calculated by Chordfields from that analysis. They have not been independently verified against the recording. Read the full method.