FLIP SIDE BEATLES: presentations, books, musical analysis
  • Beatles Minute
  • Pop Goes the Theory
  • Calendar
    • Upcoming Events
    • Past Events
    • Newsletter Sign-Up
  • Blogs
    • Beatles Blog
    • Pop Music Blog
    • Star Wars Blog
    • Origami Blog
    • Shakespeare Blog
  • Contact

Beatles Giveaways, Part 8: "I'm in Love"

6/30/2013

0 Comments

 
Lennon's "I'm in Love" was recorded by The Fourmost at Abbey Road Studios on October 1963, under producer George Martin. Billy J. Kramer and the Dakotas, who had already released four Beatles giveaways by this point,  recorded the song, as well, on 14 October 1963, but abandoned the project after 32 apparently unsuccessful takes. It is uncertain who recorded the song first. What is certain is that Kramer never released his version, and The Fourmost released theirs on 15 November 1963.
The Beatles never recorded "I'm in Love", but Lennon did record a demo.
0 Comments

Formal Structure in Beatles Music: [100] "Only a Northern Song"

6/28/2013

0 Comments

 
Formal structure of "Only a Northern Song":
          Intro (ind)               0:00-0:09
          Verse 1                      0:09-0:32
          Verse 2                      0:32-0:54
          Middle 8                    0:54-1:12
          Break (ind)               1:12-1:33
          Middle 8                    1:33-1:51
          Verse 3                       1:51-2:12
          Break (Middle 8)    2:12-2:23
          End of Middle 8      2:23-2:29
          Coda (Break, M8)  2:29-3:23

Comments: Contiguous verses, as found in [1] "Love Me Do", [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", [95] "Penny Lane", [96] "A Day in the Life", and [99] "Fixing a Hole".

This song also uses different breaks - the first being independent from the rest of the song, the second replacing all but the last bit of the middle 8, and then the coda consists of a combination of both breaks.
0 Comments

Beatles Giveaways, Part 7: "I Wanna Be Your Man"

6/27/2013

0 Comments

 
John Lennon and Paul McCartney co-wrote "I Wanna Be Your Man" as a song for Ringo to sing (Ringo sung lead on at least one song on each album). Shortly after composing the song, they decided to give it to the Rolling Stones to record, as well. Quoting Paul: "John and I were walking along Charing Cross Road when passing in a taxi were Mick [Jagger] and Keith [Richards]. We were each other's counterparts in many ways because they became the writers in the group and were the twosome, the couple, as it were. So they shouted from the taxi and we yelled, 'Hey, hey, give us a list, give us a lift,' and we bummed a lift off them. So there were the four of us sitting in a taxi and I think Mick said, 'Hey, we're recording. Got any songs?' And we said, 'Aaah, yes, sure, we got one. How about Ringo's song? You could do it as a single.' Ad they went for it and Bo Diddleyed it up a bit" (Miles, page 154).

"I Wanna Be Your Man" became the Rolling Stones' second single (with "Stoned" as the B side), released 1 November 1963.
The Stones' release actually preceded The Beatles own recording, which was done in September and October 1963, and included on the album With the Beatles, released 22 November 1963.
CITATIONS
Miles, Barry. Paul McCartney: Many Years From Now. Henry Holt and Company, Inc, New York, NY, 1997.
0 Comments

Formal Structure in Beatles Music: [99] "Fixing a Hole"

6/25/2013

0 Comments

 
Formal structure of "Fixing a Hole"
          Intro (verse)    0:00-0:06*
          Verse 1               0:06-0:25
          Verse 2              0:25-0:42
          Middle 8           0:42-0:59
          Verse 3              0:59-1:16
          Solo (verse)    1:16-1:33
          Middle 8           1:33-1:50
          Verse 4             1:50-2:06
          Coda (verse)   2:06-2:36

Comments: Verses 1 and 2 are contiguous (as was the case in [1] "Love Me Do", [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", [95] "Penny Lane", and [96] "A Day in the Life").

The solo is an iteration of the verse, just with the solo guitar replacing the vocals. Additionally, both the introduction and coda are based on verse. This shows that "Fixing a Hole" is very heavily based on the verse (7 of the 9 sections are verse-based). The only contrast to the verse are the two middle 8s (which is, of course, the whole point of middle 8s).
0 Comments

How Instrumental Solos Fit into the Formal Structure of Beatles Songs Released Prior to September 1963

6/24/2013

0 Comments

 
Yesterday's blog was a structural analysis of "Good Morning Good Morning" in which I commented on the fact that the solo replaces a verse (meaning that the solo section is an iteration of the verse, but with the guitar solo replacing the vocals). That is an aspect of Beatles music I have noticed quite frequently, and has sparked an idea for a series of analyses of how instrumental solos fit into the formal structure of Beatles songs. The goal of this series of posts is to find patterns in how the Beatles use solos in a structural sense. Do they usually replace verses? Or choruses? Middle 8s? Or do they tend to be structurally independent entities? Only one way to find out for sure...

One thing is worth pointing out prior to beginning: I use the term "solo" to describe any instrumental break that is more than a brief riff or motive. So, for example, in the songs "Baby It's You" and "From Me To You", the so-called solos are actually duets - two instruments sharing the spotlight simultaneously. Despite the fact that the term solo literally means a single instrument, for simplicity and consistency I will refer to them all as solos.

[1] "Love Me Do" features a harmonica solo played by John Lennon. The solo section is in essence a second middle 8 with the harmonica replacing the vocals. In addition, the solo is extended: The middle 8 lasts 8 bars, while the solo lasts 12. This difference of 4 bars is found at the end of the solo, when Lennon improvises rather than imitates the previously heard vocals.

[2] "P. S. I Love You" contains no instrumental solo.

[3] "Please Please Me" contains no instrumental solo.

[4] "Ask Me Why" contains no instrumental solo.

[5] "There's a Place" contains no instrumental solo.

[6] "I Saw Her Standing There" contains a guitar solo played by George Harrison. Structurally speaking, though it resembles the verses and middle 8s, it is not closely based an any other sections. The progressions, while they do share chords, are not the same as either the verse or the middle 8. Thus, the solo in "I Saw Her Standing There" is independent of the rest of the song from a structural point of view.

[6b] "A Taste of Honey" contains no instrumental solo.

[7] "Do You Want to Know a Secret" contains no instrumental solo.

[8] "Misery" contains no instrumental solo.

[9] "Hold Me Tight" contains no instrumental solo.

[9b] "Anna (Go To Him)" contains no instrumental solo.

[9c] "Boys" contains a guitar solo played by George Harrison. While it bears small differences with the chorus (Paul's bassline and Ringo's fills differ slightly ), it is close enough to say that the solo is based on the chorus, meaning that structurally speaking the solo is the chorus with the guitar replacing the lead and backing vocals.

[9d] "Chains" contains no instrumental solo.

[9e] "Baby It's You"
contains a guitar solo played by George Harrison, doubled on the celesta by George Martin. Though not identical to the verse (the solo adds an extra chord in the second measure, which the verses all omit), the solo section it is close enough to say that the solo is based on the verse, meaning that structurally speaking the solo is the verse with the guitar and celesta replacing the lead and backing vocals.

[9f] "Twist and Shout" contains a guitar duet played by George Harrison and John Lennon. In contributing to the solo (duet), Lennon necessarily has to stop playing his guitar chords, and in doing so contributes to a downshift in energy during this section. To further this effect, Paul's bassline is restricted to a slightly lower tessitura, and Ringo's beat moves from a constant 8th note pulse on the ride cymbal to the much drier closed hi-hat. Although the solo section uses an identical chord progression to the verses, the decrease in energy highlights this section as a contrast to the verses. In that way, the solo section blurs the line between solo and middle 8. Regardless, the solo section in "Twist and Shout" is structurally independent of the rest of the song (i.e. it is not an iteration of another section but with the solo instruments replacing the vocals as is the case in many other Beatles tracks).

[10] "From Me To You" contains a harmonica solo played by John Lennon, doubled on bass by Paul McCartney. The duet imitates the vocals, as heard in previous verses, thus the solo functions structurally as a verse. Moreover, the solo only lasts for half of the verse, with the vocals returning for the second half.

[11] "Thank You Girl" contains no instrumental solo.

[12] "She Loves You" contains no instrumental solo.

[13] "I'll Get You" contains no instrumental solo.

Just as I did for my blog series on structural functions of middle 8s, I am including a PDF chart illustrating my findings. This chart will be continued as this blog series continues.
solos_chart.pdf
File Size: 5 kb
File Type: pdf
Download File

0 Comments

Formal Structure in Beatles Music: [98] "Good Morning Good Morning"

6/23/2013

0 Comments

 
Formal structure of "Good Morning Good Morning":
          Intro (ext)     0:00-0:11
          Verse 1            0:11-0:29
          Extension       0:29-0:33
          Verse 2            0:33-0:43
          Middle 8          0:43-0:54
          Verse 3             0:54-1:12
          Extension       1:12-1:16
          Solo (verse)  1:16-1:25
          Middle 8         1:25-1:37
          Verse 4           1:37-1:55
          Ext/Coda      1:55-2:41

Comments: Another 2-part intro (as was heard in [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [65] "Day Tripper", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [82] "Rain, and [84] "Taxman", [89] "I Want to Tell You", [92] "She Said She Said", and [97] "Sgt. Pepper's Lonely Hearts Club Band") in that the first thing heard is a rooster call, then the "music proper" begins. Although in this case, because the first part is a sound effect, "Good Morning Good Morning" is most similar to "Sgt. Pepper's Lonely Hearts Club Band", which also features a 2-part introduction where the first part is sound effects and the second part the music proper.

The solo replaces a verse (i.e. the accompanying instruments play as if it's a verse, but the solo is heard instead of lead vocals). This is something I have noticed quite a lot in Beatles music, but I have not kept track of which songs do so to this point. I will take the opportunity to start - perhaps that can be tomorrow's blog.

Each verse (counting the solo as a verse) is identical in meter and chord progression through the first four measures. Then in the fifth measure, verse 2 and the solo segue to the middle 8s ("Everybody knows there's nothing doing...", "People running 'round it's five o'clock...."), while verses 1, 3, and 4 continue an additional five measures before a two-measure extension that was heard in the introduction ("Good morning, good morning ...").

Counting the solo as a verse, then, the macro-scale formal layout of "Good Morning Good Morning" can be seen as five iterations of the verse, with each successive iteration alternating how long that verse lasts and how that verse concludes (i.e. with either an extension or a transition to the middle 8), as discussed in the previous paragraph. This creates a palindromic structure (and just the fifth Beatles song to do so to date, behind [33] "I'll Be Back", [93] "Strawberry Fields Forever", [94] "When I'm Sixty-Four", and [97] "Sgt. Pepper's Lonely Hearts Club Band"). A visual representation will undoubtedly help illustrate the concept. In the odd-numbered iterations (indicated in green), the verses are all nine measures long and are followed by two-measure extensions; in the even-numbered iterations (indicated in yellow), the verses are all four measures long and are followed by six-measure middle 8s. They are roughly equal in duration, with the odd-numbered verses (including the extensions) lasting a total of 45 beats, while the even-numbered verses (including the middle 8s) lasting a total of 42 beats. This approximate equality contributes to the palindromic balance.
Picture
It should be further noted that the extension/coda following verse 4 serves two different functions in this palindromic formal structure: It is both the extension of verse 4 and the coda. There is no clear dividing point where the extension stops and the coda starts since the coda is based on that extension (an extension of the extension in a sense), and for that reason I have listed them as a single section even though they serve as two.
0 Comments

Beatles Giveaways, Part 6: "I'll Keep You Satisfied"

6/22/2013

1 Comment

 
The Beatles released "From Me To You" as a single (with "Thank You Girl" as the B-side) on 11 April 1963. In the middle 8 of "From Me To You" are the lyrics "I got lips that long to kiss you And keep you satisfied", the last three words of which are shared with the song "I'll Keep You Satisfied". It is uncertain when McCartney composed "I'll Keep You Satisfied" (whether it was before or after "From Me To You"), but it would seem most logical that the line in "From Me To You" prompted the birth of "I'll Keep You Satisfied", although I have never encountered a quote from Paul to support this notion.

Regardless of chronology, the tune was given to Billy J. Kramer and the Dakotas, who recorded the song at Abbey Road Studios on 14 October 1963 under the supervision of producer George Martin. (John Lennon was present at the recording, although why is uncertain because it was primarily Paul's tune.) Their recording was then released the following November 1.
The Beatles never recorded "I'll Keep You Satisfied", not even in demo form.
1 Comment

Formal Structure in Beatles Music: [97] "Sergeant Pepper's Lonely Hearts Club Band"

6/21/2013

0 Comments

 
Formal structure of "Sergeant Pepper's Lonely Hearts Club Band"
          Intro             0:00-0:23*
          Verse 1         0:23-0:43
          Break?          0:43-0:56*
          Chorus         0:56-1:26
          Middle 8?   1:26-1:38*
          Verse 2        1:38-1:58
          Coda/Trans. 1:58-2:05

Comments: The introduction is again in two parts (similar to [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [65] "Day Tripper", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [82] "Rain, and [84] "Taxman", [89] "I Want to Tell You", and [92] "She Said She Said"), with the first 12 seconds consisting of nothing but background noises, and the next 11 seconds featuring the "music proper", which establishes the tempo, tonality, and character for the song and ultimately the rest of the album.

The section right after verse 1 is clearly a break (which I defined as "a break for the singer") as the band instruments play, temporarily relieving the lead vocals. Tonally, during this break, the song tonicizes C major instead of G major. This same chord progression and thus tonicization also occurs in the section right after the chorus, however in this case the band is replaced with two- and sometimes three-part vocal harmony. Clearly this is not a break since it's not "a break for the singer", but at the same time is equally clearly the same music (i.e. the same chords, same bassline, same drum beats - just with vocals replacing the band). Furthermore, the fact that these sections both tonicize C major suggest that they function rather like a middle 8 (which I defined as "a contrasting section in the middle of a song"). With their location in the middle of the song, and in tonicizing a different key, clearly these passages fit the criteria of middle 8. In this way, the defining characteristics between break and middle 8 are blurred, and for these reasons I have included question marks in the above analysis.

Regardless of choices in diction and defining characteristics of formal sections, the break/middle 8 sections in question are nearly identical, and that relation creates a clear palindromic structure for this track:
Picture
"Sgt. Pepper" is the fourth Beatles song to date to employ a palindromic formal structure, the others being [33] "I'll Be Back", [93] "Strawberry Fields Forever", and [94] "When I'm Sixty-Four".
0 Comments

Stereo Panning on Revolver

6/20/2013

2 Comments

 
Taxman
Left:
rhythm guitar
bass
Center:
lead vocals
backing vocals
Right:
lead guitar
drums

Eleanor Rigby
Left:
backing vocals
Center:
strings
lead vocals (bridge)
Right:
lead vocals (verse & chorus)

I'm Only Sleeping
Left:
[nothing]
Center:
lead vocals
backing vocals
(backwards) lead guitar
rhythm guitar
bass
percussion
Right:
[nothing]

Love You To
Left:
[nothing]
Center:
vocals
sitar
guitar
percussion
Right:
[nothing]

Here There and Everywhere
Left:
backing vocals
lead guitar
Center:
lead vocals
Right:
rhythm guitar
bass
percussion

Yellow Submarine
Left:
rhythm guitar
bass
drums
Center:
brass band
Right:
lead vocals
backing vocals

She Said She Said
Left:
bass
percussion
Center:
lead vocals
backing vocals
Right:
lead guitar
rhythm guitar
organ

Good Day Sunshine
Left:
piano 1
bass
percussion (snare drum, bass drum, hi-hat with tambourine)
Center:
lead vocals
backing vocals

Right:
piano 2
percussion (cymbals, bass drum)

And Your Bird Can Sing
Left:
rhythm guitar
Center:
lead vocals
backing vocals
lead guitar
Right:
bass

For No One
Left:
french horn
bass
percussion
Center:
lead vocals
Right:
piano

Doctor Robert
Left:
backing vocals
percussion
Center:
guitars
Right:
lead vocals
bass

I Want to Tell You
Left:
piano
percussion
Center:
lead vocals
backing vocals
lead guitar
Right:
bass

Got To Get You Into My Life
Left:
bass
percussion
Center:
lead vocals
guitar
Right:
trumpets
saxophones

Tomorrow Never Knows
Left:
sound effects
tape loops
Center:
lead vocals
sitar
bass
percussion
Right:
lead guitar
organ
2 Comments

Formal Structure in Beatles Music: [96] "A Day in the Life"

6/19/2013

2 Comments

 
Formal structure of "A Day in the Life"
          Trans/Intro    0:00-0:12    G major
          Verse 1              0:12-0:44    G major
          Verse 2              0:44-1:11    G major
          Verse 3              1:11-1:40      G major
          Transition        1:40-2:15      -
          Middle 8            2:15-3:18      E major*
                    intro                  2:15-2:21
                    verse 1             2:21-2:36
                    verse 2             2:36-2:49
                    retransition   2:49-3:18*
          Verse 4              3:18-3:46    G major
          Transition        3:46-4:20      -
          Coda                   4:20-5:06   E major*
          Dog pitch         5:06-5:10       -
          Run-out groove    5:10-5:37   -

Comments: With later Beatles tracks (and especially those off the White Album and afterwards), analyzing formal structure becomes more challenging because of the fragmentary nature of the songs. "A Day in the Life" is the first of many fragment-based Beatles tunes. In this case, Lennon wrote the verses, while McCartney chipped in the middle 8. Or at least, what I'm calling the middle 8. But it's certainly quite different from any middle 8 in the Beatles' output so far! Nevertheless, its functions as a contrast to the verses and thus functions structurally like a middle 8. Furthermore, its position is in the middle of the song, although at 39 measures in length its duration is far longer than 8. In addition, this middle 8 contains four distinct sub-sections - including two verses (!) for lack of a better term. Lastly, at the end of the middle 8, I've borrowed the term "retransition" from classical sonata form, which refers to the transition from the development section to the recapitulation.

Verses 1-3 are contiguous. Beatles songs often use the first two verses contiguously (examples: [1] "Love Me Do", [6] “I Saw Her Standing There”, [7] "Do You Want to Know a Secret", [8] "Misery", [9b] "Anna (Go To Him)", [9c] "Boys", [9d] "Chains", [9f] Twist and Shout, [10] "From Me To You", [13e] "Till There Was You", [17] "Little Child", [19] "Not a Second Time", [23] "Can't Buy Me Love", [25] "And I Love Her", [26] "I Should Have Known Better", [28] "If I Fell'', [29] "I'm Happy Just to Dance With You", [31] "A Hard Day's Night", [31b] "Matchbox", [32] "I'll Cry Instead", [35] "Things We Said Today", [40] "I Don't Want To Spoil the Party", [41] "What You're Doing", [42] "No Reply", [43] "Eight Days a Week", [44] "She's a Woman", [44b] "Kansas City/Hey Hey Hey Hey", [46d] "Words of Love", [47] "Ticket to Ride", [49] "I Need You", [50] "Yes It Is", [51] "The Night Before", [52] "You Like Me Too Much", [54] "Tell Me What You See", 56b] "Dizzy Miss Lizzy", [56c] "Bad Boy", [57] "I've Just Seen a Face", [59] "Yesterday", [66] "If I Needed Someone", [68] "We Can Work it Out", [71] "Michelle", [77] "Tomorrow Never Knows", [80] "Paperback Writer", [82] "Doctor Robert", [84] "Taxman", [88] "Yellow Submarine", [89] "I Want To Tell You", [92] "She Said She Said", and [95] "Penny Lane"), but it is quite rare to find contiguous verses other than 1-2. In fact, "A Day in the Life" is just the seventh behind [19] "Not a Second Time" (in which verses 1 and 2 are contiguous, as are verses 3 and 4), [31b] "Matchbox" (in which the first three and last two verses are contiguous), [56b] "Dizzy Miss Lizzy" (in which verses 1-2 are contiguous, as are verses 4-5), [77] "Tomorrow Never Knows" (in which verses 1-3 are contiguous, as are verses 4-7), [80] "Paperback Writer" (in which verses 1-2 are contiguous, as are verses 3-4), [84] "Taxman" (in which verses 1-2 are contiguous, as are verses 3-4), and [95] "Penny Lane" (in which verses 1-2 are contiguous, as are verses 4-5). The four verses are nearly identical until the last few measures. This point is most easily understood visually, and for that reason I have created a chart to illustrate (click to enlarge). Melodically, all verses are identical through the seventh measure of each verse (the first measure of the example below); and the chord progressions are identical through the first half of the ninth measure of each verse (the third measure of the example below). But after that, verse 1 repeats the melodic and chordal patterns from two bars earlier - something that does not occur in any other verse; verse 2 adds a trill-like oscillation between B and A-sharp on the words "Nobody was really sure if he was from the"; verse 3 adds the "I'd love to turn you on" tag - clearly related to the trill of the previous verse; and verse 4 combines bits from the previous two verses. In this way, Lennon is able to vary the verses enough to avoid monotonous repetition while still allowing for three contiguous verses.
Picture
The coda is both one of the Beatles' longest and shortest because it consists of but one chord (an E major chord, tonally reprising Paul's middle 8), but that chord resonates for 40-some seconds before finally fading into silence.

But of course, that's not actually the end. After that cataclysmic chord are two more events: the dog pitch and run out groove. However, these will be discussed in other blogs as this one is about structural format and both the dog pitch and run out groove are insignificant in terms of the macro-scale formal structure of the song.
2 Comments
<<Previous

    Beatles Blog

    This blog is a workshop for developing my analyses of The Beatles' music.

    Categories

    All
    12 Bar Blues
    Abbey Road
    Abbey-road-medley
    Ab Road Bootlegs
    Across The Universe
    Act Naturally
    A Day In The Life
    A-hard-days-night-album
    A Hard Days Night Film
    A Hard Days Night Song
    All Ive Got To Do
    All My Loving
    All Together Now
    All You Need Is Love
    And I Love Her
    And Your Bird Can Sing
    Anna Go To Him
    Another Girl
    Any Time At All
    Ask Me Why
    Astrid Kirchherr
    A Taste Of Honey
    Avant Garde
    Baby Its You
    Babys In Black
    Baby Youre A Rich Man
    Bach
    Back In The USSR
    Bad Boy
    Bad To Me
    Ball State University
    Barry Miles
    Beatlemania
    Beatles
    Beatles For Sale
    Because
    Beethoven
    Being For The Benefit Of Mr Kite
    Billy J Kramer
    Birthday
    Blackbird
    Blue Jay Way
    Bootlegs
    Boys
    Buddy-holly
    Cadences
    Cant Buy Me Love
    Carl Perkins
    Carry That Weight
    Catcall
    Chains
    Chuck Berry
    Collage
    Come Together
    Come-together
    Cry Baby Cry
    Cynthia Lennon
    Day Tripper
    Dear Prudence
    Devil In Her Heart
    Dig A Pony
    Dig It
    Dizzy Miss Lizzy
    Doctor Robert
    Dominant Chord
    Dont Bother Me
    Dont Let Me Down
    Dont Pass Me By
    Do You Want To Know A Secret
    Drive My Car
    Eddie-cochran
    Eight Days A Week
    Eleanor Rigby
    Electronic Music
    Electronic Sound Harrison Album7660042653
    Elvis-presley
    Everly Brothers
    Everybodys Got Something To Hide Except For Me And My Monkey
    Everybodys Trying To Be My Baby
    Every Little Thing
    Fixing A Hole
    Flying
    Formal Structure
    Formal-structure
    For No One
    For You Blue
    From A Window
    From Me To You
    George Harrison
    George-harrison
    George Martin
    Get Back
    Getting Better
    Girl
    Giveaways
    Glass Onion
    Golden Slumbers
    Goodbye
    Good Day Sunshine
    Good Morning Good Morning
    Good Night
    Good Vibrations
    Got To Get You Into My Life
    Hamburg
    Happiness Is A Warm Gun
    Harmonic Analysis
    Hello Goodbye
    Hello Little Girl
    Help-album
    Help Movie
    Help Song
    Helter Skelter
    Here Comes The Sun
    Here-comes-the-sun
    Here There And Everywhere
    Her Majesty
    Hey Bulldog
    Hey Jude
    Hold Me Tight
    Honey Dont
    Honey Pie
    How I Won The War
    I Am The Walrus
    I Call Your Name
    I Dont Want To See You Again
    I Dont Want To Spoil The Party
    I Feel Fine
    If I Fell
    If I Needed Someone
    Ill Be Back
    Ill Be On My Way
    Ill Cry Instead
    Ill Follow The Sun
    Ill Get You
    Ill Keep You Satisfied
    Im A Loser
    Im Down
    I Me Mine
    Im Happy Just To Dance With You
    Im In Love
    Im Looking Through You
    Im Only Sleeping
    Im So Tired
    Indian Songs
    Indica Gallery
    I Need You
    In My Life
    In-spite-of-all-the-danger
    I Saw Her Standing There
    I-saw-her-standing-there
    I Should Have Known Better
    Its All Too Much
    Its For You
    Its Only Love
    It Wont Be Long
    Ive Got A Feeling
    Ive Just Seen A Face
    I Wanna Be Your Man
    I Want To Hold Your Hand
    I Want To Tell You
    I Want You Shes So Heavy
    I Will
    Jane Asher
    Jerry-lee-lewis
    John Lennon
    Julia
    Kansas City Hey Hey Hey Hey
    Lady Madonna
    Lecture-tours
    Let It Be Album
    Let It Be Song
    Like Dreamers Do
    Little Child
    Little-richard
    Long Long Long
    Long Tall Sally
    Lonnie Donegan
    Love
    Lovely Rita
    Love Me Do
    Love-me-do
    Love Of The Loved
    Love You To
    Lucy In The Sky With Diamonds
    Maggie Mae
    Magical-mystery-tour-album
    Magical Mystery Tour Song
    Mahler
    Martha My Dear
    Matchbox
    Maxwells Silver Hammer
    Maxwells-silver-hammer
    Mean Mr Mustard
    Michelle
    Misery
    Modulations
    Money Thats What I Want
    Moog Synthesizer
    Mother Natures Son
    Mr Moonlight
    Nobody I Know
    No Reply
    Norwegian Wood
    Not A Second Time
    Nowhere Man
    Numbering System
    Obladi Oblada
    Octopuss Garden
    Oh Darling
    Old Brown Shoe
    One After 909
    One And One Is Two
    Only A Northern Song
    Otis Redding
    Panning
    Paperback Writer
    Paul Mccartney
    Paul Mccartneys Bass Playing
    Penny Lane
    Peter Asher
    Piggies
    Pinky And The Brain
    Please Mister Postman
    Please Please Me Album
    Please Please Me Song
    Polythene Pam
    Power Puff Girls
    P S I Love You
    Quarrymen
    Rain
    Raindrops Keep Falling On My Head
    Revolution
    Revolution 1
    Revolution 9
    Revolver
    Ringo
    Rock And Roll Music
    Rocky Raccoon
    Roll Over Beethoven
    Rubber-soul
    Run For Your Life
    Savoy Truffle
    Sexy Sadie
    Sgt Peppers Lonely Hearts Club Band Album
    Sgt Peppers Lonely Hearts Club Band Reprise
    Sgt Peppers Lonely Hearts Club Band Song
    She Came In Through The Bathroom Window
    She Loves You
    She Said She Said
    Shes A Woman
    Shes Leaving Home
    Slow Down
    Snow White
    Solos
    Something
    Song-structure
    Sour-milk-sea
    Step-inside-love
    Stereo Panning
    Strawberry Fields Forever
    Sun King
    Taxman
    Tell Me What You See
    Tell Me Why
    Thank You Girl
    That Means A Lot
    The Ballad Of John And Yoko
    The Beatles Album
    The Continuing Story Of Bungalow Bill
    The-continuing-story-of-bungalow-bill
    The End
    The Fool On The Hill
    The Inner Light
    The Long And Winding Road
    The Night Before
    The One After 909
    Theres A Place
    The Word
    Things We Said Today
    Thingumybob
    Think For Yourself
    This Boy
    Ticket To Ride
    Till There Was You
    Timeline
    Tip Of My Tongue
    Tomorrow Never Knows
    Tonality
    Twist And Shout
    Two Of Us
    Wait
    We Can Work It Out
    What Goes On
    What Youre Doing
    When I Get Home
    When Im Sixtyfour
    While My Guitar Gently Weeps
    White Album
    Why Dont We Do It In The Road
    Wild Honey Pie
    With A Little Help From My Friends
    Within You Without You
    With The Beatles
    Woman
    Words Of Love
    World Without Love
    Yellow Submarine Album
    Yellow-submarine-album
    Yellow Submarine Film
    Yellow Submarine Song
    Yer Blues
    Yes It Is
    Yesterday
    Yoko Ono
    You Cant Do That
    You Know My Name Look Up The Number
    You Like Me Too Much
    You Never Give Me Your Money
    You Really Got A Hold On Me
    Youre Going To Lose That Girl
    Your Mother Should Know
    Youve Got To Hide Your Love Away
    You Wont See Me

    Archives

    May 2019
    January 2019
    November 2018
    August 2018
    July 2018
    June 2018
    March 2018
    February 2018
    October 2017
    September 2017
    June 2017
    May 2017
    April 2017
    March 2017
    February 2017
    January 2017
    December 2016
    November 2016
    October 2016
    September 2016
    August 2016
    July 2016
    June 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    November 2015
    October 2015
    September 2015
    August 2015
    July 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012

    RSS Feed

Powered by Create your own unique website with customizable templates.
  • Beatles Minute
  • Pop Goes the Theory
  • Calendar
    • Upcoming Events
    • Past Events
    • Newsletter Sign-Up
  • Blogs
    • Beatles Blog
    • Pop Music Blog
    • Star Wars Blog
    • Origami Blog
    • Shakespeare Blog
  • Contact