- 'Can't Buy Me Love'
- 'Every Little Thing'
- 'You've Got To Hide Your Love Away'
- 'I've Just Seen A Face'
- 'Run For Your Life'
- 'Got To Get You Into My Life'
- 'Eleanor Rigby'
- 'Yellow Submarine'
- 'Penny Lane'
- 'She's Leaving Home'
- 'Baby, You're a Rich Man'
- 'All You Need is Love'
- 'Hey Bulldog'
- 'Don't Pass Me By'
- 'I'm So Tired'
- 'Dig a Pony'
- 'I've Got a Feeling'
- 'I Want You (She's So Heavy)'
Notice that the term "deceptive AABA" does NOT mean that the song is NOT in AABA form (sorry for the double negative, but in this case it's needed). Rather, deceptive AABAs are in AABA form, it's just that they use something other than the traditional bridge as the B section.
Like 'She Loves You', most of these songs are deceptive because they use a chorus to replace the bridge. But a handful employ other sections.
'Run For Your Life' uses a solo.
And while 'Eleanor Rigby' fits the traditional AABA model more closely than perhaps any other deceptive AABA, the final A section also features the chorus simultaneously, making it a quodlibet and an AABA in structure.
'Rigby', however, is not the only Beatles quodlibet. 'I've Got a Feeling' is one, too. The combination of the verse and chorus in 'Rigby' defines it as a quodlibet, but in 'Feeling' there are two different verses (A and B) which are combined at the end. The bridge in 'Feeling' functions in textbook fashion, thus, like 'Eleanor Rigby', 'I've Got a Feeling' is also both an AABA and a quodlibet.
Lastly, the Beatles do not use pre-choruses frequently, but on 'I Want You (She's So Heavy)' the pre-chorus functions as the B in its deceptive AABA structure.
Monday, 16 May 2016, 7:00-8:30 p.m.
Elmwood Park Public Library, 1 Conti Pkwy, Elmwood Park, IL
The Influence of American Rock 'n' Roll on The Beatles
Before the Beatles ever wrote their own songs or performed on stage, they were inspired to do so by American rock 'n' roll records. This 90-minute multimedia program will illustrate the influence of Carl Perkins, Elvis Presley, Chuck Berry, Little Richard, and other American recording artists from the 1950's on the Beatles through side-by-side comparisons and musical analysis of Beatles covers and original recordings.