Music can very loosely be broken down into two primary constituents: pitch (which is to say how high or low any given sound is), and rhythm (how short or long any given sound is). As I wrote in my 2013.01.26 and 2013.01.31 blogs, "Something" illustrates how George Harrison's compositional maturity encompassed pitch through the music of motivic unity and tonal structure. And where "Something" shows Harrison's developed sense of pitch, "Here Comes the Sun" shows his developed sense of rhythm.
Most music is written in quadruple meter, meaning four beats to every measure. In fact, that meter is so often used that it has earned the nickname "common time". "Here Comes the Sun" is mostly in common time, however at the end of each verse and especially in the middle 8, the meter changes. This is illustrated in the score example below.
A string of 3/8 bars helps conclude each verse, and reappear in the middle 8 along with a 5/8 bar. It is no coincidence that the climax of the song occurs immediately after the middle 8, with its constantly changing meters, as it transitions to the third and final verse. These changing time signatures help create tension, propelling the song to its climax.
Perhaps inspired by Cilla Black's jazzy rendition of "It's For You", Paul McCartney gave the song "Catcall" to The Chris Barber [Jazz] Band, whose recording was released on 20 October 1967.
The only recording of the Beatles performing the song (called "Catswalk"?) is from the Cavern Club. I have to admit some degree of skepticism over this recording, however. It may well be authentic, but I have my suspicions.
Formal structure of  "Carry That Weight":
Reprise of "You Never Give Me Your Money"
0:35-0:44 [guitar solo]
0:44-1:07 "You never give me your money..."
Comments: A drum fill very similar to the one that introduces  "Mean Mr. Mustard" launches "Carry That Weight" into its anthem-like chorus, which consists of a 4-bar phrase that is immediately repeated. Upon the repetition, it segues into the reprise of "You Never Give Me Your Money", first with brass, then a guitar solo, and finally with the lyrics.
The coda functions both as a further reprise of "You Never Give Me Your Money" (the guitar arpeggios having been used to conclude that track are heard again), and as a transition into  "The End".
In response to criticism that the overwhelming popularity of Lennon/McCartney songs was the product of their names instead of their songwriting abilities, Paul McCartney wrote the tune "Woman" under the name Bernard Webb (A. Smith in the United States), and gave the song to Peter and Gordon, whose recording was released 10 January 1966. The test failed, however, as the author's true identity was discovered shortly after the song's release.
The Beatles never recorded the song in any form.
Formal structure of  "Golden Slumbers":
Intro (v) 0:00-0:03
Verse 1 0:03-0:34
Verse 2 1:02-1:31
Comments: The A-B-A formal design is rather similar to  "A Day in the Life", albeit in miniature.
The verses and chorus all end with the same musical material ("Sleep pretty darling do not cry...").
The second verse segues without pause into  "Carry That Weight".
Originally planned to be included on the Beatles' album Help!, "That Means a Lot" was instead given to P.J. Proby, whose recording was released 17 September 1965 or 7 April 1965 (I'm uncertain which is the correct date).
The Beatles' attempt to record the song was included in The Beatles Anthology (Anthology 2, Disc 1, Track 6).
This blog is a workshop for developing my analyses of The Beatles' music.