Formal structure of  "Lady Madonna":
Intro (v) 0:00-0:09 A major
Verse 1 0:09-0:18 A major
Verse 2 0:18-0:26 A major
Middle 8 0:26-0:40 C major
Tag 0:40-0:44 transitional (tonality ambiguous)
Verse 3 0:44-0:53 A major
Break (v) 0:53-1:01 A major
Solo (M8) 1:01-1:15 C major
Tag 1:15-1:19 transitional (tonality ambiguous)
Verse 4 1:19-1:28 A major
Break (v) 1:28-1:37 A major
Middle 8 1:37-1:50 C major
Tag 1:50-1:54 transitional (tonality ambiguous)
Verse 5 1:54-2:06 A major
Coda (v) 2:06-2:17 A major
Comments: This analysis incorporates a new structural label: the tag, a brief but distinctive musical motive that could be interpreted as an extension whatever section preceded it, but is different enough to warrant independent formal designation.
A tag is rather similar to a bridge in that a formal analysis on the briefest level would not distinguish a bridge or tag, but on a more detailed scale, analysis would make such a distinction. Also, tags are often transitional and cohesive in nature. Examples of tags in Beatles music would be the guitar motives in "Day Tripper", and "In My Life", among others. At some point, I will revise my earlier analyses of those songs.
With that in mind, looking specifically at "Lady Madonna" we can see that at least in this instance the tag also functions as a tonally transitional element - the tag connects the middle 8s (in C major) with the verses (in A major). As a result, the tag's tonality is a little bit of both C and A major.
Where Part 1 of this series was very clean (no discrepancies between A/B and Sulpy, Part 2 had a few chronological errors and conflict over which dates certain tracks were recorded. Part 3 is even more sloppy.
A/B #6.19 corresponds in part to Sulpy #s 3.99 and 6.67 (it appears to be the same recording from January 6, not two different recordings from Jan 3 and Jan 6 as Sulpy lists). But Sulpy also describes bits of dialogue in his 6.67 that are not in A/B 6.19. Where that dialogue came from is beyond me...
Sulpy #s 6.16 through 6.20 is out of chronological order.
Sulpy #s 6.52, 6.66, and 6.72 do not correspond with any A/B tracks - at least not as far as I have been able to find.
Formal structure of  "The Inner Light":
Verse 1 0:28-0:48
Verse 2 1:29-1:49
Coda (ch) 2:25-2:36
Comments: The first thing to keep in mind about "The Inner Light" is that it is another of Harrison's Indian influenced songs. As a result, the formal nomenclature appropriate for the Beatles' other works does not necessarily apply in the same sense to this one. And sure enough, a conflict appears over what to call the sections immediately following the bridges. Are they choruses or middle 8s? I chose the designation chorus because the bridge's purpose (as witnessed in other songs) is to bridge the verses and choruses. No Beatles song so far has used a bridge to connect the verse and middle 8. Furthermore, the point of a middle 8 is to contrast the verses, and while there is an increase in energy (characteristic of choruses), there is little harmonic contrast. This is typical of Indian style music, which employs long drones or pedal points. So I went with chorus. Alan Pollack, in his systematic cataloging and analysis of Beatles tracks, chose "break" as his formal designation - yet another defensible choice, especially since in the first of the two choruses/middle 8s/breaks, the vocals are omitted in favor of an instrumental break. It all boils down to the fact that pop song formal descriptions are not perfectly compatible with Indian music...
Regardless, the macro-scale formal structure can be seen as two groups of verse/bridge/chorus, bookended by an intro and coda:
Also notice that the final chorus is abbreviated (18 seconds long instead of 23, as was the first chorus). This is because the last chorus segues to the coda (which itself is an extension of the chorus).
This blog is a workshop for developing my analyses of The Beatles' music.