Formal structure of "I'll Get You"
Intro (tag) 0:00-0:08* Verse 1 0:08--0:35 Tag 0:35-0:39* Verse 2 0:39-1:05 Tag 1:05-1:09* Middle 8 1:09-1:24 Verse 3 1:24-1:51 Coda (tag) 1:51-2:06* Comments: Following the example of "Thank You Girl" (released two months prior to "I'll Get You"), the intro, and coda are both based on the tag (the part corresponding to the lyrics "oh yeah, oh yeah").
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Formal Structure of "She Loves You"
Chorus 0:00-0:13 Verse 1 0:13-0:25 Bridge 0:25-0:38 Verse 2 0:38-0:51 Bridge 0:51-1:04 Chorus 1:04-1:16 Verse 3 1:16-1:29 Bridge 1:29-1:42 Chorus 1:42-2:06* Coda (chorus) 2:06-2:21 Comments: "She Loves You" is the first Beatles recording not to use an introduction - it simply launches directly into the chorus. The first bridge leads back to another verse instead of to the chorus, which it does every subsequent time. The final chorus, right before the coda, is extended by repeating the line "with a love like that, you know you should be glad" two additional times. Formal Structure of "Thank You Girl"
Intro 0:00-0:07* Verse 1 0:07-0:20 Chorus 0:20-0:27 Verse 2 0:27-0:41 Chorus 0:41-0:48 Middle 8 0:48-1:02 Chorus 1:02-1:09 Transition 1:09-1:16* Verse 3 1:16-1:30 Chorus 1:30-1:38 Coda 1:38-2:03* Comments: Just like "Little Child", "Thank You Girl" features a two-part introduction: first, a few harmonica notes on top of a guitar riff; then the drums enter along with the words "oh, oh". Both of these components reappear in the transition (this time with drums playing throughout), and then again in the coda (which extends through two additional repetitions of the second half of this passage - the "oh, oh" part). "Thank You Girl" is the first Beatles recording to use material otherwise independent in the intro, transition, and coda. The other interesting thing about the structure of "Thank You Girl" is that the middle 8 is followed by the chorus. "Ask Me Why" is the only other Beatles recording as of April 11 1963 (when the single "From Me To You"/"Thank You Girl" was released) to do so. All other songs (except for "A Taste of Honey") that use a middle 8 follow it with a verse. "Honey" inserts a transition - based on the verse - right after the middle 8, which leads back to a verse. Also in "Honey", the second iteration of the middle 8 is followed by the coda, also based on the verse. So both middle 8s in "Honey" do lead to the next verse, it's just that they are delayed in doing so by a brief transition. Thus "Thank You Girl" and "Ask Me Why" are indeed the only two songs to follow the middle 8 with something other than a verse. Having done two posts featuring structural analyses of complete albums (Please Please Me on 12/5, and With the Beatles on 12/6), I have decided an entire album is simply too much material for a single blog post. From now on, I will post single song analyses, beginning today with "From Me To You", their first single not included on an album.
Formal Structure of "From Me To You" Intro (verse) 0:00-0:07 Verse 1 0:07-0:21 Verse 2 0:21-0:35 Middle 8 0:35-0:49 Verse 3 0:49-1:03 Solo 1:03-1:10* end of verse 1:10-1:17* Middle 8 1:17-1:31 Verse 4 1:31-1:44 Coda (verse) 1:44-1:56 Comments: No chorus, although the concluding lyrics of each verse are all the same ("Just call on me and I'll send it along with love from me to you") which suggest it might be a chorus, but the energy level does not increase so I have labeled them as verse. Regardless, "From Me To You" does blur the line slightly between verse and chorus. Solos often take the place of an additional verse, but in this case the solo replaces only the first half of a verse, with the end of the verse sung as usual. Paul McCartney has cited The Beach Boys' bass lines as an influence in his own bass playing. They freed him up to play more melodic patterns. "[I]t was good not always to have to play the root notes" he said in the Beatles' Anthology (p. 80).
Though in different keys, "Good Vibrations" (in E-flat) and "I'll Be Back" (in A) feature the same chord progression: i - bVII - bVI - V. They therefore serve as the perfect comparison, showing what Paul played and what the Beach Boys played given the exact same chord progression. In "I'll Be Back", Paul plays the root (scale degree 1) of each chord almost exclusively (occasionally he'll play the fifth instead). The Beach Boys play a more melodic pattern using scale degrees 1, 2, 3, and 5. McCartney also plays in very bottom of the bass's range, whereas the Beach Boys played in the upper register, giving it a very different timbre. Now here are a few MIDI excerpts, both transposed to the same key (C), for side-by-side comparison: first is the opening phrase of "Good Vibrations"; next the opening phrase of "I'll Be Back". And since the tunes use identical chord progressions, we can substitute one bass line for the other to further compare them: here is "Good Vibrations" with Paul's bass line from "I'll Be Back"; and here is "I'll Be Back" with the Beach Boys' bass line from "Good Vibrations". By comparing these 4 excerpts side by side, we can easily hear how much more melodic and sophisticated the Beach Boys' bass line is than the Beatles'. Paul, of course, could hear it, too - and he responded by making his own bass playing more melodic. Continuing my index of formal structural analyses begun in my Dec 5 post, this one will continue the series by looking at the album With the Beatles. For my loose definitions of structural terms, please review my post from Dec. 5.
FORMAL STRUCTURE OF SONGS ON WITH THE BEATLES Song Title Section Timing "It Won't Be Long" Chorus 0:00-0:15 Verse 1 0:15-0:28 Chorus 0:28-0:42 Middle 8 0:42-0:56 Verse 2 0:56-1:09 Chorus 1:09-1:23 Middle 8 1:23-1:38 Verse 3 1:38-1:51 Chorus 1:51-2:00 Coda (independent) 2:00-2:11 Comments: On Please Please Me, every single song had an introduction. The very first track on With the Beatles breaks the pattern: instead of an intro, the song launches straight into the chorus. The coda uses material entirely independent from the rest of the song. "All I've Got To Do" Intro (independent) 0:00-0:03* Verse 1 0:03-0:15 Chorus 0:15-0:25 Verse 2 0:25-0:38 Chorus 0:38-0:48 Middle 8 0:48-1:05 Verse 3 1:05-1:18 Chorus 1:18-1:28 Middle 8 1:28-1:49 Coda (verse) 1:49-2:00 Comments: Intro is a single guitar chord (E aug 9,11) that has no relation to anything that comes after it. Chorus uses different lyrics. Second Middle 8 features an extension (it's longer the second time than it was the first), which I've not noticed in a Beatles tune up until this point. Verses 2 and 3 share identical lyrics. "All My Loving" Verse 1 0:00-0:25 Verse 2 0:25-0:50 Middle 8 0:50-1:02 Solo 1:02-1:15 Verse 3 1:15-1:40 Middle 8 1:40-1:52 Coda (m8) 1:52-2:06 Comments: No introduction, just starts right in with Verse 1. Verses 1 and 3 share identical lyrics. Just like "Not a Second Time", "All My Loving" blurs the line between middle 8 and chorus. "Don't Bother Me" Intro (verse/independent) 0:00-0:05 Verse 1 0:05-0:17 Chorus 0:17-0:22 Verse 2 0:22-0:34 Chorus 0:34-0:40 Middle 8 0:40-1:02 Verse 3 1:02-1:13 Chorus 1:13-1:19 Solo 1:19-1:30 Chorus 1:30-1:36 Middle 8 1:36-1:58 Verse 4 1:58-2:09 Chorus/Coda 2:09-2:26 Comments: The introduction is similar to the verses, but the motive played by the bass and guitar never appears again, nor does the chord progression. This is probably the shortest chorus so far in a Beatles song. It is also probably the longest Middle 8 of any Beatles song so far. It's also interesting to note that the lyrics in the choruses, while very similar, are not identical. Verses 3 and 4 share identical lyrics. "Little Child" Intro (verse) 0:00-0:06* Verse/Chorus 0:06-0:19 Verse/Chorus 0:19-0:31 Middle 8 0:31-0:41 Verse/Chorus 0:41-0:54 Solo 0:54-1:12 Middle 8 1:12-1:23 Verse/Chorus 1:23-1:34 Coda (chorus?) 1:34-1:44* Comments: Two-part introduction: first the harmonica riff, second the backing. Both stem from the verses. A la "Love Me Do", the utter simplicity of "Little Child" actually makes its structure somewhat ambiguous. Every verse features identical lyrics, which blurs the boundaries delineating where the verse ends and the chorus starts. For that reason, I've labeled these sections verse/chorus. If the song does feature a chorus, the coda makes use of it. Since song titles often come from the lyrics of the chorus, this tune might have easily been called "Baby take a Chance With Me". "Till There Was You" Intro (verse) 0:00-0:08 Verse 1 0:08-0:23 Verse 2 0:23-0:39 Middle 8 0:39-0:54 Verse 3 0:54-1:10 Solo 1:10-1:26 Middle 8 1:26-1:42 Verse 4 1:42-1:58 Coda 1:58-2:12* Comments: No chorus, although the line "Till there was you" could be interpreted as such since those are the only lyrics that remain the same from verse to verse. The lack of increased energy, however, prompts me to instead categorize it as part of the verse. The coda draws out the same words, so it could be interpreted as being based on the chorus (if there is one). Otherwise it could be based on the verse. On the other hand, despite the lyrical similarities, the music is largely unrelated to the rest of the song, so it could also been interpreted as independent. "Please Mister Postman" Intro (bridge) 0:00-0:08 Chorus 0:08-0:23 Verse 1 0:23-0:39 Bridge 0:39-0:54 Chorus 0:54-1:10 Verse 2 1:10-1:26 Chorus 1:26-1:42 Coda 1:42-2:31* Comments: Intro based on bridge, which naturally leads to chorus. Bridge sounds very similar to verse. Part of the reason why is that the same chord progression (A, F-sharp minor, D, E) permeates the entire song (whereas bridges will often change the chords slightly to propel the music towards the chorus). Lastly, this song has the longest, most developed coda (three sections, which share the same chord progression as the rest of the song but is otherwise independent) in Beatles recordings to date - even bigger than "Twist and Shout" from earlier that same year, though certainly nowhere near the size and substance of "Hey Jude" five years later. "Roll Over Beethoven" Intro 0:00-0:17 Verse 1 0:17-0:29 Chorus 0:29-0:35 Verse 2 0:35-0:47 Chorus 0:47-0:54 Verse 3 0:54-1:05 Chorus 1:05-1:11 Middle 8 1:11-1:23 Chorus 1:23-1:29 Solo 1:29-1:47 Verse 4 1:47-1:58 Chorus 1:58-2:04 Verse 5 2:04-2:22 (Chorus 2:16-2:22)* Chorus/Coda 2:22-2:43 Comments: Another "split intro" (where the introduction can be divided into two distinct parts): first the guitar lick, then the backing is added. The former will reappear in the solo, the latter is used in the verses. Three verses before middle 8 (usually it's two). More verses (five) than any other Beatles recording to date (several on Please Please Me use four). The chorus always use similar lyrics ("Roll over Beethoven...") each time except for the chorus following Verse 5, which instead substitutes "Long as she's got a dime the music will never stop". (This might is likely because the coda, which immediately follows, is based on the chorus.) Since the energy levels of the verse and chorus are equal, I would have considered them part of the same section (rather than splitting them into two distinct sections) had the lyrics of the chorus different each time. That is what happens in Verse 5, so to indicate that in the above chart, I've included 2:16-2:22 twice: as part of Verse 5, and also as part of the subsequent chorus. "Hold Me Tight" Intro (verse) 0:00-0:03 Verse 1 0:03-0:17 Bridge 0:17-0:24 Chorus 0:24-0:31 Verse 2 0:31-0:45 Bridge 0:45-0:52 Chorus 0:52-1:00 Middle 8 1:00-1:12 Verse 3 1:12-1:26 Bridge 1:26-1:33 Chorus 1:33-1:40 Middle 8 1:40-1:52 Verse 4 1:52-2:07 Bridge 2:07-2:14 Chorus 2:14-2:21 Coda (chorus) 2:21-2:30 Comments: Structurally speaking the busiest Beatles recording so far. Verse 1 and 3 share lyrics, as do verses 2 and 4. "You've Really Got A Hold On Me" Intro (chorus) 0:00-0:13 Verse 1 0:13-0:35 Chorus 0:35-0:47 Verse 2 0:47-1:09 Chorus 1:09-1:22 Middle 8 1:22-1:37 Transition 1:37-1:49 Verse 3 1:49-2:11 Chorus 2:11-2:24 Middle 8 2:24-2:39 Coda (chorus) 2:39-3:00 Comments: Intro and Coda based on chorus. "I Wanna Be Your Man" Intro (verse) 0:00-0:01 Verse 1 0:01-0:21 Chorus 0:21-0:31 Verse 2 0:310:51 Chorus 0:51-1:01 Solo 1:01-1:16 Verse 3 1:16-1:35 Chorus 1:35-1:46 Coda (chorus) 1:46-1:58 Comments: very straight forward. The shortest introduction (guitar lick reappears in second verse, right after the line "Love you like no other, baby, like no other can") of any Beatles song to date (of those that use an intro, of course - not all do). "Devil In Her Heart" Intro (verse) 0:00-0:08 Verse 1 0:08-0:24 Middle 8 0:24-0:42 Verse 2 0:42-0:58 Middle 8 0:58-1:16 Verse 3 1:16-1:32 Middle 8 1:32-1:50 Verse 4 1:50-2:05 Coda (verse) 2:05-2:25 Comments: One of the most structurally primitive Beatles recording so far - a verse, and something to contrast that verse (middle 8 - although in this song it's actually nine measures long, not eight), with a beginning and ending (both using the backing from the verses with an overlaid guitar riff) tacked on. No solo, no chorus. "Not A Second Time" Verse 1 0:00-0:13 Verse 2 0:13-0:26 Chorus 0:26-0:45* Solo 0:451:05 Verse 3 1:05-1:18 Verse 4 1:18-1:32 Chorus 1:32-1:51* Coda (chorus) 1:51-2:04* Comments: Verses 1 and 3 same; as are 2 and 4. This one blurs the line between chorus and middle 8: the tonal shifts suggest a middle 8, but the energy is not much different from the verse (middle 8s are often less energetic than the verses - as in "It Won't Be Long" - while choruses are often more energetic - as in "Please Please Me"). Then again the Beatles early recordings have shown quite clearly that their choruses rarely do feature that characteristic increase in energy, which would lend support to calling these sections choruses instead of a middle 8s. Additionally, the title comes from the end of the section in question, which would be unusual for a middle 8, but extremely common for a chorus. For all of those reasons and more, I've opted to label these sections as a chorus. "Money (That's What I Want)" Intro (chorus) 0:00-0:15 Verse 1 0:15-0:22 Chorus 0:22-0:37 Verse2 0:37-0:44 Chorus 0:44-0:59 Verse 3 0:59-1:06 Chorus 1:06-1:21 Solo 1:21-1:36 Verse 4 1:36-1:44 Chorus 1:44-1:59 Coda (chorus) 1:59-2:47 Comments: Very short verses, but one of the longer codas (two sections, based on the chorus) in Beatles recordings so far. Verses 3 and 4 share identical lyrics. GENERAL CONCLUSIONS All 14 tracks of Please Please Me employed both introductions and codas. On With the Beatles, not every song does: "It Won't Be Long" begins with a chorus, and "All My Loving" and "Not a Second Time" begin with a verse. Every song on With the Beatles does, however, use a coda. Two of these codas ("Money (That's What I Want)", and "Please Mr. Postman") are substantial in size. Unlike Please Please Me (in which 6 of the 14 tracks did not use a chorus), all but two on With the Beatles ("All My Loving" and "Devil in her Heart") does use a chorus, though two of them ("Little Child" and "Not a Second Time") blur the distinction between middle 8 and chorus. My posting from 12/1 on "Being for the Benefit of Mr. Kite" piqued my interest a little bit in regards to the part where I wrote, "Structurally speaking, 'Being for the Benefit of Mr. Kite' is unusual in that it has no chorus. This is strange because it is often the chorus that is the most catchy and easily recognizable part of a song". That got me wondering what other Beatles songs lack a chorus. So this posting will be the first in a series analyzing the formal structure of Beatles songs. Before digging too deeply into this idea, however, I first need to define a few terms. (How can I know if a song has a chorus or not if I'm not even sure what a chorus is?) So here are my definitions of the following structural terms in rough order of frequency of use in Beatles music:
Verse - the main part or "body" of the song. The energy of verses tends to be low, and the music is almost always repeated, but the lyrics usually change with each subsequent verse. Middle 8 - a section (almost always) in the middle of a song, and typically (but not always) 8 measures in duration. The primary structural function of the middle 8 is to contrast with the verses. Chorus - the catchy and high energy part of the song that features both the same music and lyrics on each iteration. As the name implies, this section usually features a thicker texture than in any other section. (Often several singers are heard on the chorus, whereas other sections tend to feature a single lead vocalist.) Refrain - when used (and not all songs do), it is found at the end of the verse. Due to its location, it could well be interpreted as part of the verse (depending on the level of structural analysis). Consequently, I will often use the single label “verse + refrain” rather than separating them into two independent sections. Where the verses use different lyrics set to the same music in each iteration, the refrain always uses the same (or at least very similar) lyrics set to the same music. Introduction - the beginning of a song, as distinct from other structural sections (although it is often but not always based on one of those other sections) Coda - The ending of a song, as distinct from other structural sections (although it is often but not always based on one of those other sections) Break/Solo - an instrumental section (a "break" for the singer), usually in the middle of a song (and sometimes reprised in the coda) Transition - reserved for passages that segue from one section to another that do not fit better into another category Tag - a brief but distinctive melodic snippet that appears periodically throughout the song. Often also called a riff, or a motive. Also, these diagrams will illustrate two levels of analysis (macro and micro), because within each macro section there is often a phrase pattern that is just as structured on a smaller scale as the whole song itself if on a larger scale. This micro structure analysis will use Walter Everett’s “SRDC” form, as described in The Beatles as Musicians. Statement: an expository phrase. Restatement: a repetition of S Departure: a contrast with S Conclusion: a closing gesture, often based on S FORMAL STRUCTURE OF SONGS ON PLEASE PLEASE ME [6] "I Saw Her Standing There": AABA with solo and partial reprise Introduction 0:00-0:07 based on verse (4 m) (A) Verse 1 0:07-0:32 statement (8 m) departure (4 m) conclusion (4 m) (A) Verse 2 0:32-0:56 (B) Middle 8 0:56-1:10 statement (2 m) restatement (2 m) restatement (2 m) departure (4 m) (A) Verse 3 1:10-1:35 (C) Solo (ind.) 1:35-1:59 (B) Middle 8 1:59-2:14 (A) Verse 4 2:14-2:37 Coda (verse) 2:37-2:51 conclusion (4 m) conclusion (4 m) [8] "Misery": AABA with partial reprise Introduction 0:00-0:10 based on verse (4 m) (A) Verse 1 0:10-0:25 statement (2 m) restatement (2 m) departure (2 m) conclusion (2 m) (A) Verse 2 0:25-0:39 (B) Middle 8 0:39-0:53 statement (4 m) restatement (2 m) departure (2 m) (A) Verse 3 0:53-1:08 (B) Middle 8 1:08-1:22 (A) Verse 4 1:22-1:37 Coda 1:37-1:45 based on verse (6 m) conclusion (2 m) conclusion (2 m) conclusion (2 m) [9b] "Anna (Go To Him)": AABA with partial reprise Introduction 0:00-0:09 based on verse (4 m) (A) Verse 1 0:09-0:37 introduction (2 m) statement (2 m) restatement (2 m) departure (2 m) conclusion (4 m) (A’) Verse 2 0:37-0:57 introduction (2 m) statement (2 m) restatement (2 m) departure (2 m) conclusion (2 m) (B) Middle 8 0:57-1:31 statement (8 m) retransition (8 m) (A) Verse 3 1:31-1:49 (B) Middle 8 1:49-2:24 (A) Verse 4 2:24-2:53 introduction (2 m) statement (2 m) restatement (2 m) departure (2 m) conclusion (8 m) [9d] "Chains": AABA with partial reprise Introduction 0:00-0:07 based on verse (4 m) (A) Verse 1 0:07-0:29 12 bar blues (A) Verse 2 0:29-0:51 (B) Middle 8 0:51-1:06 statement (4 m) partial restatement (2 m) retransition (2 m) (A) Verse 3 1:06-1:28 (B) Middle 8 1:28-1:43 (A) Verse 4 1:43-2:06 Coda (verse) 2:06-2:23 [9c] "Boys": Simple Verse-Chorus Introduction 0:00-0:07 based on verse (4 m) Verse 1 + Refrain 0:07-0:27 12 bar blues Verse 2 + Refrain 0:27-0:47 Chorus 0:47-1:06 12 bar blues Solo 1:06-1:27 12 bar blues Verse 3 + Refrain 1:27-1:47 Chorus 1:47-2:08 Chorus 2:08-2:23 [4] "Ask Me Why": AABA with full reprise Intro (verse, 2 m) 0:00-0:03 (A) Verse A1 0:03-0:26 statement (4 m) restatement (4 m) inconclusive departure (5 m) (A) Verse A2 0:26-0:50 statement (4 m) restatement (4 m) conclusive departure (4 m) (B) Middle 8 0:50-1:04 statement (4 m) conclusive restatement (4 m) (A’) Verse B1 1:04-1:15 conclusive statement (6 m) (A) Verse A3 1:15-1:38 statement (4 m) restatement (4 m) inconclusive departure (5 m) (A’) Verse B2 1:38-1:49 (B) Middle 8 1:49-2:03 (A’) Verse B3 2:03-2:24 conclusive statement (5 m) inconclusive S fragment (2 m) conclusive S fragment (2 m) [3] "Please Please Me": AABA Introduction 0:00-0:07 based on verse (4 m) tag (2 m) tag (2 m) (A) Verse 1 + Refrain 0:07-0:35 statement (4 m) restatement (4 m) departure (4 m) conclusion (4 m) (A) Verse 2 + Refrain 0:35-1:02 (B) Middle 8 1:02-1:19 statement (4 m) restatement (4 m) tag (2 m) (A) Verse 3 + Refrain 1:19-1:50 statement (4 m) restatement (4 m) departure (4 m) conclusion (2 m) conclusion + tag (2 m) conclusion + tag (2 m) Coda (independent) 1:50-1:57 [1] "Love Me Do": AABA with partial reprise Introduction 0:00-0:13 based on refrain (8 m) (A) Verse + Refrain 0:13-0:34 statement (2 m) restatement (2 m) restatement (2 m) departure (3 m) conclusion (4 m) (A) Verse + Refrain 0:34-0:55 (B) Middle 8 0:55-1:09 statement (4 m) conclusive restatement (4 m) (A) Verse + Refrain 1:09-1:30 (B) Solo (middle 8) 1:30-1:49 statement (4 m) conclusive restatement (4 m) extension (4 m) (A) Verse + Refrain 1:49-2:19 statement (2 m) restatement (2 m) restatement (2 m) departure (3 m) conclusion (9 m) [2] "P. S. I Love You": AABA with partial reprise and an extra B at the start (B) Middle 8 0:00-0:14 statement (2 m) restatement (2 m) restatement (2 m) conclusion (2 m) (A) Verse 1 + Refrain (10 m) 0:14-0:32 (A) Verse 2 + Refrain 0:32-0:50 (B) Middle 8 0:50-1:04 (A) Verse 3 + Refrain 1:04-1:22 (B) Middle 8 1:22-1:37 (A) Verse 4 + Refrain (14 m) 1:37-2:01 [9e] "Baby It's You": Simple Verse Introduction 0:00-0:13 based on refrain (6 m) (A) Verse 1 + Refrain 0:13-0:58 statement (4 m) restatement (4 m) departure (9 m) conclusion (4 m) (A) Verse 2 + Refrain 0:58-1:43 (A) Solo/Verse 3 + Refrain 1:43-2:35 NOTE: The statement and restatement phrases of Verse 3 are the solo, while the departure and conclusion of Verse 3 are sung. [7] "Do You Want To Know A Secret": AABA Introduction 0:00-0:14 musically independent (5? m) (A) Verse 1 0:14-0:41 statement (2 m) restatement (2 m) departure (2 m) restatement (2 m) restatement (2 m) inconclusive conclusion (4 m) (A) Verse 2 0:41-1:08 (B) Middle 8 1:08-1:20 statement (2 m) restatement (2 m) transition (2 m) (A) Verse 3 1:20-1:55 [6b] "A Taste Of Honey": ABAB Introduction 0:00-0:15 based on refrain (8 m) (A) Verse 1 + Refrain 0:15-0:43 statement (4 m) restatement (4 m) conclusion (4 m) extension (4 m) (B) Middle 8 0:43-1:03 statement (2 m) restatement (2 m) conclusion (2 m) extension (4 m) (A) Verse 2 + Refrain 1:03-1:32 (B) Middle 8 1:32-2:00 statement (2 m) restatement (2 m) conclusion (4 m) extension (4 m) [5] "There's A Place": AABA Introduction 0:00-0:06 based on verse (4 m) (A) Verse 1 + Refrain 0:06-0:31 introduction (1 m) statement A (2 m) restatement A (2 m) restatement A (2 m) departure (2 m) statement B (2 m) restatement B (2 m) inconclusive departure (2 m) (A’) Verse 2 (no Refrain) 0:31-0:54 introduction (1 m) statement (2 m) restatement (2 m) restatement (2 m) departure (2 m) transition (4 m) (B) Middle 8 0:54-1:09 statement (4 m) restatement (5 m) (A) Verse 3 + Refrain 1:09-1:35 Coda (verse) 1:35-1:48 based on verse (7 m) [9f] “Twist And Shout": Simple Verse Introduction 0:00-0:08 based on same chords found throughout (4 m) (A) Verse 1 0:08-0:38 statement (8 m) restatement (8 m) (A) Verse 2 0:38-1:09 (A’) Break 1:09-1:36 guitar solo (8 m) retransition (6 m) (A’’) Verse 3 1:36-2:32 statement (8 m) restatement (8 m) extension (6 m) retransition (4 m) conclusion (2 m) Natalia and I received out wedding photos about a week ago and have been sorting through them since. In doing so, I found a couple of amusing shots... ... that I didn't realize until just recently display a similarity to a series of shots of John Lennon watering Cynthia Lennon's hat. An intriguing and totally inadvertent parallel! Especially given that we also did a more conscious Beatles reference photograph.
Despite being rock 'n' rollers, The Beatles were very polite in their lyrics. Of the 213 songs recorded by the Beatles and released on their albums, 25 (12%) use the word "please":
Love Me Do (1962): "Love, love me do. You know I love you. I'll always be true, so please love me do." Chains (1963): "Please believe me when I tell you your lips are sweet" Please Please Me (1963): "Please please me like I please you" I Want to Hold Your Hand (1963): "Oh please say to me you'll let me be your man, and please say to me you'll let me hold your hand." Don't Bother Me (1963): "But till she's here please don't come near, just stay away" Please Mr. Postman (1963): "Please Mr. Postman look and see if there's a letter, a letter for me" You Really Got a Hold on Me (1963): "I love you and all that I want you to do is just hold me please, hold me squeeze, hold me" Mr. Moonlight (1963): "Mr. Moonlight, come again please. Here I am on my knees begging if you please." If I Fell (1964): "If I trust in you, oh please, don't run and hide. If I love you too, oh please, don't hurt my pride like her." When I Get Home (1964): "Come on, if you please, I got no time for trivialities." You Can't Do That (1964): "So please listen to me if you wanna stay mine" I Don't Want to Spoil the Party (1964): "If she turns up while I'm gone please let me know." What You're Doing (1964): "Please stop your lying, you got me crying girl" Yes it Is (1965): "Please don't wear red tonight" Day Tripper (1965): "Tried to please her, but she only played one night stand." Help! (1965): "Won't you please, please help me?" I Need You (1965): "Please come on back to me. I'm lonely as can be. I need you." "Please remember how I feel about you. I could never really live without you." Nowhere Man (1965): "Nowhere man please listen, you don't know what you're missing." I'm Only Sleeping (1966): "Please don't wake me, no don't shake me, leave me where I am I'm only sleeping." "Please don't spoil my day, I'm miles away, and after all I'm only sleeping." Blue Jay Way (1967): "Please don't be long, please don't you be very long, please don't be long or I may be asleep." Martha My Dear (1968): "Martha my dear, though I spend my days in conversation, please be good to me." Honey Pie (1968): "Honey Pie, you are making me crazy, I'm in love but I'm lazy, so won't you please come home." Come Together (1969): "He got hair down below his knee, Got to be a joker he just do what he please." Oh! Darling (1969): "Oh, darling, please believe me. I'll never do you no harm." I've Got a Feeling (1969): "Oh please believe me, I'd hate to miss the train." P.S.: For those who are wondering, only 2 Beatles songs use "thank you": Thank You Girl (1963): "And all I gotta do is thank you girl, thank you girl." Sgt. Pepper's Lonely Hearts Club Band (1967): "We'd like to thank you once again." There is a very small but interesting parallel between "The Continuing Story of Bungalow Bill" and "Lucy in the Sky with Diamonds": Both songs feature three hard percussion hits that bridge the verse and chorus. Rather than attempting to write out and describe this comparison, it is probably easiest to simply listen for yourself: A similar effect is used in "Glass Onion", except with only two percussion hits instead of three. |
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