Abstract
This article outlines the use of neo-Riemannian operations (NROs) for the analysis of certain pop-rock chord progressions whose features invite a transformational approach. After presenting the NROs used in the paper, I delineate the general features of the progressions under discussion, distinguish the progressions from the late-Romantic progressions analyzed with NROs by Richard Cohn, Brian Hyer, Henry Klumpenhouwer, and David Lewin, and contrast pc parsimony (one or two pcs shared by two triads) with p parsimony (one or two pitches shared by two triads). I then offer a series of analyses, which fall into three categories: sequences, progressions with chromatic lines from 8ˆ or 5ˆ, and a song that combines triads and seventh chords. I close with an analysis of a complete song.
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