Blog Archives

May 31: "The Beatles & The Rolling Stones" at the Hillview Library

5/30/2016

Abbey Road on the River concluded yesterday (actually today, but for me it ended yesterday). And I'm already looking forward to next year :-)

I typically allow myself one gratuitous (not research-related) purchase per trip, such as the mini Hofner bass I bought in Liverpool in July.

This time it was a vinyl cut out from artist Damon Vincent, owner of City Minis. He devised a way to cut vinyl albums into shapes, some of which are quite elaborate.

His online gallery (www.cityminis.com) shows the full breadth of his work.

I naturally gravitated towards The Beatles section, and bought one based on A Hard Day's Night.

Now I just have to find the wall space to hang it!

My spring 2016 tours conclude tomorrow at the Hillview Library in Kentucky:

Tuesday, 31 May 2016, 6:00-7:00 p.m.
Hillview Library, 155 Terry Blvd, Hillview, KY
The Beatles & The Rolling Stones
Ask anybody to name two English rock bands from the 1960s and the response will likely be The Beatles and The Rolling Stones. But despite often being portrayed as rivals in the media, the two groups were actually quite friendly towards each other, both socially and musically. This 60-minute presentation will compare and contrast the two through musical examples and interviews with the band members to illustrate the relationship between The Beatles & The Rolling Stones.

It'll be my 77th speaking engagement since 8 February, 82nd so far of 2016, and 348th of my career (248th specifically about The Beatles).

So what next?

June, July, and August will be gentle: just 14 speaking engagements in 6 states (Wisconsin, Illinois, Pennsylvania, New Jersey, and New York). But things get crazy again in the fall. I'm going to Kansas City in September, New England in October, Wisconsin/Illinois in November.

In addition, I'm on pace to release my next book, Days in the Life (my and my father's journals from our March tour out to Arizona) in August. And I hope to publish BEATLESTUDY Volume I: Structural Analysis of Beatles Music in December (but that might be optimistic). Regardless, the summer will be busy, if not in terms of travel.

May 29: "The Beatles & The Rolling Stones" at Abbey Road on the River

5/28/2016

SIMPLE SONG STRUCTURES, PART 2 OF 2

Despite the label of "simple", these forms can be quite complex. In their quest for contrast, the sub-structures of these simple forms can grow to be extremely sophisticated. For that reason, I label some tracks as having "(not so) simple" structures.

The Beatles' catalog includes 7 "(not so) simple" songs:

'Baby It's You'
'If I Fell'
'Tell Me What You See'
'In My Life'
'The Fool On The Hill'
'Everybody's Trying to Be My Baby'
'Yer Blues'
'Come Together'

* * * * * * * * *

What better way to set up a simple structure song than with an introduction entirely unrelated to the song body? The introduction on 'If I Fell' is not only unrelated in terms of melody, but also in terms of tonality: The intro is in Db major, while the song proper is in D major. Only 'The Continuing Story of Bungalow Bill' (whose intro is in e minor, while the song body vacillates among A minor, A major, and C major) matches 'If I Fell' in that claim. (Curiously, 'Lovely Rita' is the opposite: It has a coda in Ab minor, while the song body is in Eb major.)

After that introduction, the first verse features three phrases: a four-measure expository statement, a five-measure revision of that statement, and a single-measure turnaround to propel the music to verse 2.

(A) Verse 1 0:19-0:40
   (b) statement (4)
   (b') revision (5)
   (c) turnaround (1)

This second verse starts exactly the same as the first, with that same four-measure expository statement (though different lyrics). But the second phrase revision is elongated to a six-measure phrase. The purpose of that extension is to introduce a departure phrase that functions like a bridge (providing contrast) but is clearly part of the verse itself. The following two-measure turnaround phrase is itself a revision of that departure phrase.

(A') Verse 2      0:40-1:13
   (b) statement (4)
   (b'') revision (6)
   (d) departure (3)
   (d') turnaround (2)

The third verse repeats this phrase pattern of the second verse, including its bridge-like departure and turnaround.

(A') Verse 3      1:13-1:46
   (b) statement (4)
   (b'') revision (6)
   (d) departure (3)
   (d') turnaround (2)

But the fourth and final verse is altered once again, this time to function as the conclusion. The first two phrases (the statement and revision) are identical to verse 1. But where the first verse implemented a turnaround at its end, verse 4 implements a new and more final conclusion phrase. This conclusion is heard twice consecutively - the first including vocals, the second featuring the same phrase but with Harrison's guitar replacing Lennon's singing.

(A'') Concluding Verse 4 1:46-2:18
   (b) statement (4)
   (b') revision (5)
   (e) conclusion (2)
   (e) conclusion (2)

It's clearly a simple form, with only verse (no bridges, choruses, pre-choruses, solos, or breaks) constituting the entire song body. But within that simple structure, the micro-scale phrase structure is varied and sophisticated, providing the contrast necessary to avoid monotony, and defining the song structure as "(not so) simple".

* * * * * * * * *

Much like 'If I Fell', 'Tell Me What You See' is also an A x4 simple structure. It, too, features an expository initial verse (0:04-0:32) followed by a second verse (0:32-1:14) that repeats but then extends the phrases of the first. The third verse (1:14-1:56) is identical to the second. And the fourth verse (1:56-2:38) concludes the song.

* * * * * * * * *

What makes 'In My Life' "(not so) simple" is the departure section of the verses. Each of the three verses (counting the solo as the third) uses the same departure, which can be broken down into three sub-phrases: First a new two-measure statement, then a two-measure departure, and finally a two-measure revision of the statement.

(A) Verse 1+ Refrain 0:09-0:51
   (a) statement (4)
   (a) restatement (4)
   departure
      (b) statement (2)
      (c) departure (2)
      (b') revision (2)
   (d) Refrain: conclusion (2)
   tag (2)

(A') Verse 2 + Refrain 0:51-1:28
   (a) statement (4)
   (a) restatement (4)
   departure
      (b) statement (2)
      (c) departure (2)
      (b') revision (2)
   (d) Refrain: conclusion (2)

(A) Solo + Refrain 1:28-2:10
   (a) statement (4)
   (a) restatement (4)
   departure
      (b) statement (2)
      (c) departure (2)
      (b') revision (2)
   (d) Refrain: conclusion (2)
   tag (2)

While a great many Beatles songs employ departure phrases, no other original song uses such a developed departure. ('Baby It's You', as we've seen, does, but that's a cover; and 'Doctor Robert', 'The Ballad of John and Yoko', and 'Mean Mr. Mustard' come close but don't reach the same degree of sophistication). This substantial departure is unsurprising in a simple structure because the departure by definition contrasts the other sections. The elaboration of this departure phrase, then, makes perfect sense in a simple structure.

Lastly, notice the tags. Though present in verses 1 and 3, it's absent from verse 2. This subtle change, combined with the substantial 3-part sub-phrase structure of the departure, qualifies 'In My Life' as "(not so) simple".

* * * * * * * * *

'The Fool On The Hill' is the only Beatles song to employ its "(not so) simple" structure for narrative purposes. The lyrics are about the notion of an idiot/savant, someone who could be either brilliant or just plain stupid. Many dismiss him as the latter: "They can see that he's just a fool." But the man in question disregards their disbelief: "He never listens to them. He knows that they're the fool."

Reflecting this brilliant/stupid dichotomy, the structure of 'Fool On The Hill' is "(not so) simple". Like 'In My Life', the departure phrase of each verse can be broken down into sub-phrases. This, however, is not as developed as that on 'In My Life'. Rather, 'Fool' develops the refrain, which consists of 5 single-measure sub-phrases: First an intro ("But the fool on the hill"), then a new statement ("sees the sun going down"). That statement is revised twice in ascending sequences ("and the eyes in his head", "see the world spinning round") before transitioning (instrumental).

(A) Verse 1 + Refrain 0:04-0:44
   (a) statement (2)
   (a') revision (2)
   departure
      (b) statement (2)
      (b') revision (1)
   Refrain (5)
      (c) introduction (1)
      (d) statement (1)
      (d') revision* (1)
      (d'') revision* (1)
      (a'') transition (1)

Each subsequent verses maintains this same phrase and sub-phrase structure, though solos replace Paul's vocals in the first 8 measures of the last three iterations:

(A) Verse 2 + Refrain 0:44-1:24
(A') Solo 1/Verse + Refrain 1:24-2:03
(A') Solo 2/Verse + Refrain 2:03-2:43
(A') Concluding Solo (fade)   2:43-2:59

'The Fool On The Hill' is clearly a simple structure, but the refrain is more developed than any other Beatles song. This qualifies 'Fool' as "(not so) simple" in structure.

* * * * * * * * *

'Everybody's Got Something to Hide Except for Me and My Monkey' is a bit simpler in its phrase structures. The first verse is clearly the model for the second and third, but the later two are slightly longer (14 measures as compared to 12 measures, excluding the tag).

(A) Verse 1 + Refrain 0:08-0:40
   (a) statement (2 measures) x3
   (b) departure (2 measures) x2
   (c) Refrain: conclusion (2 measures)
   tag (7 beats) x2

(A') Verse 2 + Refrain 0:40-1:20
   (a) statement (2 measures) x2
   (a) transition (2 measures)
   (a) restatement (2 measures) x2
   (b) departure (2 measures) x2
   (c) Refrain: conclusion (2 measures)
   tag (7 beats) x2

(A') Verse 3 + Refrain 1:20-1:59

* * * * * * * * *

The most sophisticated "(not so) simple" Beatles song might be 'Yer Blues'. The song is also a deceptive AABA. At first it appears to be a textbook AABA, but a closer look shows the bridges are actually the beginning of verses.

(A) Verse 1 0:00-0:32
   (a) statement (1 measure)
   (a) restatement (1 measure)
   (a') revision (1 measure)
   (a) restatement (1 measure)
   (b) departure (14 e)
   (c) conclusion (1 measure)

(A) Verse 2 0:32-1:01

(B) Bridge 1 1:01-1:11
   (d) statement (1 measure)
   (d) restatement (1 measure)
   (d') revision (1 measure)
   (e) turnaround (1 verse measure)

(A') Verse 3 1:11-1:30
   (a') revision (1 measure)
   (a) restatement (1 measure)
   (b) departure (14 e)
   (c) conclusion (1 measure)

(B) Bridge 2 1:30-1:40

(A') Verse 4 1:40-2:00

(B) Bridge 3 2:00-2:09

(A'') Verse 5 2:09-2:27
   (a') revision (2 measures)
   (a) restatement (2 measures)
   (b') departure (2 measures)
   (c) conclusion (2 measure)

(A'') Solo 1 (12) 2:27-2:54

(A''') Solo 2 (11) 2:54-3:18

(A) Verse 6 3:18-3:46

(A) Verse 7 (fade) 3:46-3:59

The structure, then, is simple: 9 iterations of the 12 bar blues:
1 = 0:00-0:32
2 = 0:32-1:01
3 = 1:01-1:30
4 = 1:30-2:00
5 = 2:00-2:27
6 = 2:27-2:54
7 = 2:54-3:18
8 = 3:18-3:46
9 = 3:46-3:59

The relationship between those iterations is obfuscated by tempo and meter changes. But underlying all of that surface-level differentiation, it's fundamentally the same.

* * * * * * * * *

Lastly, the "(not so) simple" structure of 'Come Together' is the result of 2 factors:

(1) each verse is supplemented by a repeat of the introduction. Sometimes this intro is 4-measures long, other times it's just 2. This could make it a "compound simple" structure, except that...

(2) the phrase structure of the verses (including the solo as a verse since it replaces a verse) are constantly changing. The 8-measure verse 1 lacks the 2-measure refrain, whereas the 10-measure verses 2, 3, and 4 all include it. Additionally, the solo, like verse 1, is 8 measures in duration, but its phrase structure is different. Both the solo and verse 1 open with 4 single-measure statements (a) followed by a 2-measure revision (a'). But where verse 1 concludes with a (b) departure, the solo repeats the (a') revision.

Introduction 0:00-0:12
   tag (1) x4

(A) Verse 1 0:12-0:36
   (a) statement (1) x4
   (a') revision (2)
   (b) departure (2)

Introduction 0:36-0:47
   tag (1) x4

(A') Verse 2 + Refrain 0:47-1:16
   (a) statement (1) x4
   (a') revision (2)
   (b) departure (2)
   (c) Refrain: conclusion (2)

Introduction 1:16-1:28
   tag (1) x4

(A') Verse 3 + Refrain 1:28-1:57

Introduction 1:57-2:03
   tag (1) x2

(A'') Solo (8) 2:03-2:26
   (a) statement (1) x4
   (a') revision (2) x2

Introduction 2:26-2:31
   tag (1) x2

(A') Verse 4 + Refrain 2:31-3:01

Introduction 3:01-3:12
   tag (1) x4

Coda 3:12-4:20

These subtle discrepancies qualify 'Come Together' as "(not so) simple".

Abbey Road on the River concludes tomorrow:

Sunday, 29 May 2016, 12:30-1:30 p.m.
Abbey Road on the River: Muhammad Ali Center, 144 N 6th St, Louisville, KY
The Beatles & The Rolling Stones
Ask anybody to name two English rock bands from the 1960s and the response will likely be The Beatles and The Rolling Stones. But despite often being portrayed as rivals in the media, the two groups were actually quite friendly towards each other, both socially and musically. This 60-minute presentation will compare and contrast the two through musical examples and interviews with the band members to illustrate the relationship between The Beatles & The Rolling Stones.

May 28: "Carte Blanche: The Beatles' White Album" at Abbey Road on the River

5/27/2016

SIMPLE SONG STRUCTURES, PART 1 OF 2

The simplest formal design for a piece of music is to have every section in the song is the same (A). This is appropriately designated a "simple" structure.

'If I Fell' is a good example:
Intro 0:00-0:19
(A) Verse 1 0:19-0:40
(A) Verse 2 0:40-1:13
(A) Verse 3 1:13-1:46
(A) Verse 4 1:46-2:18

Notice that the entire song consists of four iterations of the A section (excluding the intro, which is be definition supplemental to the song's form). The alphabetic label is therefore "AAAA", or "A x4".

The Beatles use this simple structure relatively frequently, however the number of iterations of that single A section is highly variable (anywhere from 2 to 9 times).

x2, one song:
'Mean Mr. Mustard'

x3, six songs:
'Baby It's You'
'In My Life'
'Flying'
'Everybody's Got Something to Hide Except for My and My Monkey'
'Why Don't We Do It In The Road?'
'Polythene Pam'

x4, seven songs:
'Twist and Shout'
'Devil in Her Heart'
'If I Fell'
'Mr. Moonlight'
'Tell Me What You See'
'Bad Boy'
'Paperback Writer'

x5, four songs:
'Slow Down'
'The Fool on the Hill'
'Get Back'
'Come Together'

x6, two songs:
'Matchbox'
'For You Blue'

x7, two songs:
'Money (That's What I Want)'
'Words of Love'

x8, three songs:
'Everybody's Trying to be My Baby'
'Dizzy Miss Lizzy'
'Tomorrow Never Knows'

x9, two songs:
'Rocky Raccoon'
'Yer Blues'

Careful readers might notice that there are actually a couple others that could fit into the "simple structure" category. 'Maggie Mae' is an A x2, 'Her Majesty' is an A x1, 'Dig It' could be interpreted any number of ways (all of which would have to be simple), and 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' could be interpreted as A x2. All of these, however, fit better into the structural label of "fragment" because they are incomplete songs. A case could be made that 'Mean Mr. Mustard' should also fit into the "fragment" category rather than "simple", but I chose otherwise because 'Mustard', though short, offers two complete iterations of its (A) section, whereas these others offer only parts.

In a simple structure, there is no contrast at the macro-level because simple structures by definition use the same macro-level sections on each iteration.

The challenge of using simple structures, then, is the threat of monotony. If the music carries on without ever changing, boredom sets in. Composers must find ways to vary the music within that simple framework to maintain interest.

One solution is to use a solo. Even if the music is fundamentally the same, the performance of that music on an instrument (as opposed to sung) can provide the contrast necessary to sustain listeners' attention. 12 Beatles songs use this technique (interestingly, the first 7 of them are covers):

'Matchbox'
'Slow Down'
'Mr. Moonlight'
'Everybody's Trying To Be My Baby'
'Words of Love'
'Dizzy Miss Lizzy'
'Bad Boy'
'In My Life'
'The Fool On The Hill'
'Rocky Raccoon'
'Get Back'
'For You Blue'

Similarly, two songs use breaks for the same purpose (breaks, like solos, are instrumental - a "break" for the singers - but do not highlight a single instrument):

'Twist and Shout'
'Tomorrow Never Knows'

Many simple songs use refrains for contrast. While verses typically use different lyrics but the same music on each iteration, refrains by definition use the same lyrics and same music. In that sense, they are quite similar to choruses. The biggest distinguishing factor between choruses and refrains is that choruses are independent from other sections, while refrains are dependent on other section(s) - usually but not always the verses. 14 Beatles songs use this concept (several of which, you'll notice, also use solos, as described above):

'Baby It's You'
'Money (That's What I Want)'
'Slow Down'
'Mr. Moonlight'
'Everybody's Trying To Be My Baby'
'Bad Boy'
'In My Life'
'Paperback Writer'
'The Fool on the Hill'
'Get Back'
'Mean Mr. Mustard'
'Tell Me What You See'
'Everybody's Got Something to Hide Except for Me and My Monkey'
'Yer Blues'

Another tactic is to reprise the introduction in the body of the song. Intros and outros are by definition supplemental to the form, but they can be used to parse out the macro-scale sections of songs, especially in simple structures. 4 Beatles songs do this:

'Money (That's What I Want)'
'Paperback Writer'
'Come Together'
'Polythene Pam'

Abbey Road on the River continues tomorrow:

Saturday, 28 May 2016, 11:00 a.m. - 12:15 p.m.
Abbey Road on the River: Muhammad Ali Center, 144 N 6th St, Louisville, KY
Carte Blanche: The Beatles' White Abum
The Beatles' only double-album, The Beatles (a.k.a. The White Album) is the band's most individualized and stylistically diverse work, and the antithesis of Sgt. Pepper's Lonely Hearts Club Band. This 90-minute multimedia presentation will observe and analyze The White Album by putting it in musical and historical context. Topics and people discussed will include Eric Clapton, the Maharishi Mahesh Yogi and his camp in Rishikesh, India, the influence of Yoko Ono, and the beginning of the end for the Beatles.

May 27: "The Influence of American Rock 'n' Roll on The Beatles" at Abbey Road on the River

5/26/2016

Yesterday I gave an interview with Lanea Stagg on her Recipe Records Radio Show promoting Abbey Road on the River this weekend. The show may be heard here:
http://www.blogtalkradio.com/recipe-records-cookbook/2016/05/25/all-you-need-is-the-beatles

The Festival begins tonight, and I make my AROTR debut tomorrow afternoon:

Friday, 27 May 2016, 3:30-4:45 p.m.
Abbey Road on the River: Muhammad Ali Center, 144 N 6th St, Louisville, KY
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

May 24: "The Beatles: Band of the Sixties" at the Watertown Library

5/23/2016

Many Beatles songs are based on an AABA design.

AABA refers to a structural pattern in which the first verse is heard (A), followed by the second verse (A), a contrasting bridge (B), and finally a third verse (A).

'Please Please Me' is a textbook example:

Introduction 0:00-0:07
(A) Verse 1 0:07-0:35
(A) Verse 2 0:35-1:02
(B) Bridge 1:02-1:19
(A) Verse 3 1:19-1:50
Coda 1:50-1:57

Several other tracks also employ a textbook AABA (no more, no less) structure:

'There's a Place'
'Do You Want to Know a Secret?'
'Thank You Girl'
'I'll Get You'
'This Boy'
'No Reply'
'Day Tripper'
'Being for the Benefit of Mr. Kite!'
'I Will'
'Long Long Long'
'Octopus's Garden'
'Here Comes the Sun'

And a handful of others employ a compound AABA structure (no more, no less), in which a verse + chorus combine to create the compound A sections, with a B section bridge for contrast:

'When I Get Home'
'Magical Mystery Tour'
'Good Night'
'Glass Onion'

The majority of AABA Beatles songs, however, would be too short with only a literal AABA form. They therefore supplement that base with additional iterations of A and/or B sections.

Perhaps the most obvious reprise is a "full reprise", in which the entire AABA structure is repeated. But full reprises are rather rare, being found in only three tracks:

'Ask Me Why'
'If I Needed Someone'
'Honey Pie'

Much more common are partial reprises. By far the most frequent of the "AABA with partial reprise" structures is the extension -BA (making the final form AABA|BA). This is found in:

Similarly, two songs implement this -BA extension, but also add a C section solo in between the base AABA and its -BA partial reprise (making the final form AABA|C|BA):

'I Saw Her Standing There'
'Little Child'

One employs that -BA extension twice (making the final form AABA|BA|BA):

'Michelle'

Two songs use an -AA extension (making the final form AABA|AA):

'And I Love Her'
'Taxman'

Uniquely, the solo and reprise of the intro on 'I Feel Fine' (1:07-1:25) function as an interlude (not as part of the formal structure), interspersing the base AABA with its -ABA partial reprise (making the final form AABA|I|ABA, with the "I" standing for "interlude").

The vast majority of these songs conclude with an A verse, but a couple conclude with the B bridges.

'Sexy Sadie', for example, uses an -AB extension (making the final form AABA|AB).
'I Should Have Known Better' uses the extension -AAB (making the final form AABA|AAB).

* * * * * * * * *

There is a particular AABA structure half way in between "AABA with full reprise" and "AABA with partial reprise". When the overall form is AABAABA, the third A section (underlined) doubles as both the end of the initial AABA, and as the start of a full AABA reprise, in what's known as an "AABA with elided reprise".

'From Me To You' is a perfect example:

Intro 0:00-0:07
(A) Verse 1 0:07-0:21
(A) Verse 2 0:21-0:35
(B) Bridge 1 0:35-0:49
(A) Verse 3 0:49-1:03
(A) Solo 1:03-1:17
(B) Bridge 2 1:17-1:31
(A) Verse 4 1:31-1:56

Another 13 Beatles songs employ this AABAABA or "AABA with elided reprise" structure:

'Till There Was You'
'Don't Bother Me'
'You Can't Do That'
'I Call Your Name'
'A Hard Day's Night'
'What You're Doing'
'She's a Woman'
'I'll Follow the Sun'
'The Night Before'
'You Like Me Too Much'
'Good Morning Good Morning'
'Fixing a Hole'
'The One After 909'

And 2 more expand upon it:

'Nowhere Man' features an additional -BA partial reprise after its elided reprise (making the total form AABAABABA)
'Lady Madonna' uses two elided reprises (making the total form AABAABAABA)

* * * * * * * * *

Another AABA subset is the "broken AABA", in which A and/or B sections are reprized at the end, but in no discernible pattern.

At its simplest, the "broken AABA" uses just one section after the AABA base. This is, more often than not, an A section (making the total form AABA|A) as in:

'Girl'
'Dear Prudence'
'Piggies'
'Something'
'Because'

But it can also be a B section (making the total form AABA|B) as in:

'You Really Got a Hold on Me'
'All I've Got To Do'

Then there are "broken AABA" structures which are longer than a single section extension.

Both 'And Your Bird Can Sing' and 'Blackbird' feature -BAA extensions (making the total form a palindromic AABA|BAA).

Uniquely, the extension on 'Only A Norther Song' is -BAB (making the total form AABA|BAB).

Two songs, 'Roll Over Beethoven' and 'The Ballad of John and Yoko', both add an anticipation (in both songs, an extra A which come before the AABA base) in addition to the extensions (which come after).

'Beethoven': A|AABA|AAA
'Ballad': A|AABA|A

Lastly, while "compound AABA" and "broken AABA" are both reasonably common, the combination of them ("compound broken AABA") is found only in 'With A Little Help From My Friends':

Intro 0:00-0:09
(A) Verse 1 0:09-0:26
(B) Chorus 1 0:26-0:43
(A) Verse 2 0:43-1:00
(B) Chorus 2 1:00-1:13
(C) Bridge 1 1:13-1:30
(A) Verse 3 1:30-1:48
(B) Chorus 3 1:48-2:00
(C) Bridge 2 2:00-2:17
(B) Chorus 4 2:17-2:44

The (A) verses and (B) choruses combine to create the compound A section. The (C) bridges, then, constitute the compound B section. This is nothing terribly unusual, as seven other Beatles songs ('Magical Mystery Tour' and 'Ob-la-di Ob-la-da' being the most famous) also employ this compound AABA technique.

'Friends' then offers a partial reprise. Again, this is nothing out of the ordinary. 'You're Going to Lose that Girl', 'Wait', and 'Ob-la-di Ob-la-da' are all "compound AABA with partial reprise" structures: [AB] [AB] C [AB] | C [AB]. These are very nearly identical to 'With a Little Help From My Friends', except that 'Friends' omits the last A, making the final form [AB] [AB] C [AB] | C B. And that is what makes the song structurally unique: Its partial reprise is of the bridge and chorus, but it omits the verse. The partial reprise is thus "broken".

It's relatively common for songs to "tighten up" their endings as a way to propel the music to its conclusion. 'Lucy in the Sky With Diamonds', for example, omits the pre-chorus in the third and final compound section for precisely this reason. 'Cry Baby Cry' elides choruses at its end for the same reason.

All of the individual structural techniques implemented in 'With a Little Help From My Friends' can be found in other Beatles songs, but no other incorporates all of them within the same song.

The Wisconsin component of my spring 2016 tours concludes tomorrow with one final rendition of "Band of the Sixties":

Tuesday, 24 May 2016, 6:00-7:00 p.m.
Watertown Public Library, 100 S Water St, Watertown, WI
The Beatles: Band of the Sixties
Explore the music of The Beatles in this 60-minute multimedia presentation (part history and part musical analysis) spanning the full 1960's: beginning with the band's seminal visits to Hamburg, continuing through Beatlemania, and concluding with Abbey Road. The program will be supplemented with audio clips of music and excerpts from interviews with the band members.

May 23: "The Beatles: Band of the Sixties" at the Sun Prairie Public Library

5/22/2016

Solos are sections where a single instrument (occasionally two instruments) is spotlighted. They're quite common, appearing in 92 (43.6%) of the Beatles' 211 songs.

The structural function of breaks are quite similar to that of solos (they're a 'break' for the singer, just like solos), but are far less common, appearing in just 13 (6.2%) of Beatles songs. Unlike solos, breaks feature no spotlighted instrument. Breaks can use either sections of instruments (as in 'Honey Pie' from 1:46-1:59), just the backing instruments (as in 'Wild Honey Pie' from 0:00-0:09, 0:14-0:24, and 0:29-0:38), or as an opportunity for crazy things (as in 'Only A Northern Song' from 1:12-1:33 and 2:12-2:29).

* * * * * * * * *

The simplest (and most clumsy) way to deal with a solo/break is to make it musically independent from the rest of the song. This can be found in 13 Beatles songs (6.2%):

Independent solos:

'I Saw Her Standing There'
'All My Loving'
'Little Child'
'Any Time At All'
'Run For Your Life' (functions as bridge)
'Your Mother Should Know' (x2, functions as bridge)
'Octopus's Garden' (functions as bridge)

independent breaks:

'Being For The Benefit Of Mr. Kite!' (functions as bridge, which is actually based on verse)
'Magical Mystery Tour'
'The Inner Light' (concluding)
'Good Night'
'Wild Honey Pie' (x3, function as verses)
'Glass Onion' (functions as bridge, also has refrain)

In such cases, the chord progressions heard during those solos/breaks are never found anywhere else in the song. And this is why independent solos/breaks can sound clumsy. Since they're unrelated to the rest of the music, they can have a "thrown together" quality

* * * * * * * * *

But independent solos/breaks are relatively rare. It is far more common to feature solos/breaks which are based on music found elsewhere in the same song.

Of the 92 songs that use a solo, the overwhelming majority (74) use that solo during a verse iteration:

And 6 use a break based on a verse iteration:

'Twist And Shout'
'Tomorrow Never Knows'
'Yellow Submarine' (x2: 1st = partial, 2nd = full)
'Only A Northern Song' (x2, other based on bridge)
'Lady Madonna'
'Blackbird' (x2)

Notice that many of these "verse solos/breaks" are "partial", meaning they do not take up the whole verse but only part of it. This is often because the verse's refrain returns at the end of the verse, reestablishing the vocalist instead of the solo instrument(s), such as on 'A Hard Day's Night'. But sometimes the "partial" status is the result of the opposite arrangement (the vocals start the verse while the solo finishes), such as on 'For No One'.

* * * * * * * * *

After solos based on verses, the next most common basis for solos are choruses:

'Boys'
'Baby's In Black'
'I'm A Loser' (also verse)
'Honey Don't' (plus verse)
'I'm Down' (also verse)
'What Goes On' (partial)
'It's All Too Much' (x2)
'Helter Skelter'
'Maxwell's Silver Hammer'

Notice that 3 of these 9 songs ('I'm A Loser', 'Honey Don't', and 'I'm Down') feature solos during both the verse and chorus.

Curiously, not one Beatles song uses a break based on the chorus.

* * * * * * * * *

On rare occasion, solos/breaks will be based on the bridge:

Solo based on bridge:

'Love Me Do'
'Not A Second Time'
'Act Naturally'

break based on bridge:

'Only A Northern Song' (x2, other based on verse)

* * * * * * * * *

Sometimes the coda (ending) of a song will incorporate a solo:

'You've Got To Hide Your Love Away' (based on verse)
'Michelle' (based on verse, also heard earlier as verse)
'Girl' (based on verse)
'Love You To'
'And Your Bird Can Sing' (coda based on solo)

This ending solo might be a reprise of a solo heard earlier (such as on 'Michelle' - it's heard from 1:26-1:38, and then again from 2:20-2:33 and 2:33-2:42), or it might be something heard only once at the end (such as the flutes on 'You've Got To Hide Your Love Away', heard only from 1:48-2:09).

* * * * * * * * *

Lastly, 3 songs feature solos/breaks used in a way that is unique to that particular song:

'Happiness Is A Warm Gun' employs a 5-part mosaic structure. Each of those 5 parts is largely unrelated to the other 4. The third section begins with a guitar solo (0:44-0:59) that anticipates note-for-note the subsequently sung melody (0:59-1:13).

After the initial chorus on 'Carry That Weight', a 4-measure brass break initiates the reprise of 'You Never Give Me Your Money', followed by a 4-measure guitar solo, and then the vocal reprise of 'Money'.

And 'The End' features solos from all four band members: First a 2-measure drum break from Ringo from 0:08-0:11, which foreshadows the full drum solo from 0:19-0:35. Then Paul, George, and John (in that order) alternate 2-measure guitar solos from 0:54-1:29.

Tomorrow is the second of three consecutive "Band of the Sixties":

Monday, 23 May 2016, 6:30-7:30 p.m.
Sun Prairie Public Library, 1350 Linnerud Dr, Sun Prairie, WI
The Beatles: Band of the Sixties
Explore the music of The Beatles in this 60-minute multimedia presentation (part history and part musical analysis) spanning the full 1960's: beginning with the band's seminal visits to Hamburg, continuing through Beatlemania, and concluding with Abbey Road. The program will be supplemented with audio clips of music and excerpts from interviews with the band members.

May 21: "The Beatles: Band of the Sixties" at the Fox Lake Public Library

5/20/2016

I mentioned in my blog about deceptive AABA songs that "The Beatles do not use the pre-chorus frequently." There are, in fact, only four Beatles songs which use a pre-chorus: 'Lucy in the Sky with Diamonds', 'All Together Now', 'I Want You (She's So Heavy)', and 'Maxwell's Silver Hammer'.

The pre-chorus in 'Lucy in the Sky With Dimonds' is used in textbook fashion: It connects the verse to the chorus. This, however, is only true for the first two of the three compound level structures of the song. The third and final iteration proceeds directly from the verse to the chorus, omitting the pre-chorus. This was likely done to "tighten up" the song. It's relatively common in Beatles music to conclude a song with an abbreviated compound section (there are far too many to list them all, but 'Love Me Do', 'P. S. I Love You', 'I Saw Her Standing There' 'Hold Me Tight', 'It Won't Be Long', 'Little Child', 'I Want To Hold Your Hand', 'And I Love Her', 'Can't Buy Me Love' all feature partial reprises). In this case, that same "partial reprise" notion is implemented on 'Lucy' by skipping the pre-chorus from the third compound section.

The improvisatory singalong nature of 'All Together Now' is reinforced by an unpredictable formal design. Much like 'Lucy in the Sky', it's first use of the pre-chorus (0:31-0:43) is textbook: It transitions the song from verse to chorus. Also like 'Lucy', the pre-chorus is omitted later on: Verse 3 (0:53-1:03) proceeds directly to the chorus (1:03-1:13). The pre-chorus IS heard a second time (1:23-1:34), but there it serves more as a contrast to the choruses - a way to space out the iterations of the choruses. Of the last six macro-scale sections of the song, five of them are choruses. No other Beatles song is so chorus-heavy at the end (though 'I've Just Seen a Face' comes close with four of the last five). In that sense, the pre-chorus functions more as a bridge. But having had the same section appear earlier in textbook fashion, I cannot justify labeling it anything else.

The pre-choruses in 'I Want You (She's So Heavy)' are used in a more traditional way than either 'Lucy' or 'Just Seen a Face' in that they all three follow a verse. But, only the second and third pre-choruses proceed to a chorus. As it's name implies, pre-choruses are supposed to anticipate the chorus. The first pre-chorus in 'I Want You', however, proceeds to another verse instead. This delaying of the chorus thwarts the pre-chorus' expected structural function and thus builds tension in the listener.
Then, when the chorus is finally heard (nearly two minutes into the song), it's an even bigger arrival.

In contrast to its three predecessors, 'Maxwell's Silver Hammer' uses the pre-chorus entirely in textbook fashion: It's heard three times, all of which connect a verse to a chorus.

After a string 8 consecutive speaking engagements delivering other programs, I return to my signature presentation tomorrow in Fox Lake, Wisconsin:

Saturday, 21 May 2016, 1:00-2:00 p.m.
Fox Lake Public Library, 117 W State St, Fox Lake, WI
The Beatles: Band of the Sixties
Explore the music of The Beatles in this 60-minute multimedia presentation (part history and part musical analysis) spanning the full 1960's: beginning with the band's seminal visits to Hamburg, continuing through Beatlemania, and concluding with Abbey Road. The program will be supplemented with audio clips of music and excerpts from interviews with the band members.

May 18: "From the Shadow of JFK: The Rise of Beatlemania in America" at the Plymouth Arts Center

5/17/2016

When asked why he played so hard every game, Joe DiMaggio (Hall-of-Fame center fielder for the New York Yankees from 1936-51) replied, "Because there is always some kid who may be seeing me for the first time. I owe him my best." (Rosen and Bruton, p. 116).

Though the average attendance at my programs hovers around 30-35 (while Yankees games might draw 30,000-35,000), the concept is the same: I never know who is attending my presentations. Most, I suspect, are watching me for the first time. And there's also a chance that today's event might be the only time they see one of my programs. If that's true, I want to make absolutely sure that it is the best it can possibly be. And since I have no way of knowing, it forces me to give my best every single time.

Take, for example, last Saturday's program "The Beatles & The Rolling Stones" at the Brookfield, Illinois library. During the Q&A after the presentation, one man raised his hand. I recognized him instantly from the photos on the backs of his books and/or on his website as Robert Rodriguez, author of Revolver: How the Beatles Re-Imagined Rock 'n' Roll and co-host of the podcast "Something About The Beatles". We chatted for several minutes before departing the library, and he confirmed he'll be speaking at the Chicago Beatles Fest in August. I'm undecided if I'll go or not, but I am very interested in hearing one of his talks, so the fact that he'll be speaking there, coupled with the fact that he went out of his way to attend my own, pushes me towards attending Beatles Fest in August.

WORKS CITED
Rosen, Mark and Jim Bruton. Best Seat in the House: Mark Rosen's Sports Moments and Minnesota Memories. MVP Books, 2013.

After "The Music of Star Wars" this evening, I return to the Beatles universe tomorrow at the Plymouth Arts Center:

Wednesday, 18 May 2016, 6:30-7:30 p.m.
Plymouth Arts Center, 520 E Mill St, Plymouth, WI
From the Shadow of JFK: The Rise of Beatlemania in America
Many Beatles authors and scholars have cited John F. Kennedy's assassination on 22 November 1963 as a cause of the Beatles' sudden popularity in the United States in early 1964. Their logic: Kennedy's assassination made America sad, then the Beatles made America happy again. But this commonly accepted answer is overly simplistic. America has suffered numerous tragedies and rebounded each time, but the popularity and staying power of the Beatles remains unmatched in American history. The real answer is that Kennedy's life and death inadvertently primed the nation for the Beatles' arrival and success. This 60-minute program will explain how and why.

May 16: "The Influence of American Rock 'n' Roll on the Beatles" at the Elmwood Park Library

5/15/2016

The other day, I re-analyzed the form of 'She Loves You', mentioning that it was a "deceptive AABA" structure because the B section was a chorus instead of a bridge. And while 'She Loves You' was the first deceptive AABA the Beatles wrote and recorded, it is not the only one. There are 18 more:

'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.

I have an off-day today, but the tour resumes tomorrow evening at the Elmwood Park library:

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.

May 14: "The Beatles & The Rolling Stones" at the Brookfield Library

5/13/2016

I normally send my newsletters on the 20th of each month. The June 2016 newsletter, however, was sent off this morning, May 13, a full week early, for two reasons:

(1) The start time for tomorrow's program at the Brookfield, IL library was bumped up to 2pm (when the the May newsletter was sent on April 20, the start time was still 3pm - that was just changed a few days ago).

Saturday, 14 May 2016, 2:00-3:00 p.m. ***NOTE THE CHANGE IN START TIME FROM 3PM TO 2PM***
Brookfield Public Library, 3609 Grand Blvd, Brookfield, IL
The Beatles & The Rolling Stones
Ask anybody to name two English rock bands from the 1960s and the response will likely be The Beatles and The Rolling Stones. But despite often being portrayed as rivals in the media, the two groups were actually quite friendly towards each other, both socially and musically. This 60-minute presentation will compare and contrast the two through musical examples and interviews with the band members to illustrate the relationship between The Beatles & The Rolling Stones.

And (2) I might not have internet access on May 20.

These newsletters are free and the best way to stay informed of my latest news and upcoming events. Anybody with an email address register on my website: http://www.aaronkrerowicz.com/newsletter-sign-up.html

As added incentive, each newsletter features an adorable photo of my dog, Abbey (with an "e" - as in Road). Here's June's puppy picture: