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.

Yesterday I posted a structural analysis of "When I'm Sixty-Four" that gave me the idea of comparing how Ludwig van Beethoven treated his development sections with how the Beatles treated their middle 8 sections. I suspect that in both, observing and analyzing these specific formal components can serve as a microcosm for their development as creative artists as a whole. With that nascent notion in mind, this post will analyze the structural weight of the middle 8 in each Beatles song released prior to August 1964. 

[1] "Love Me Do"The middle 8 appears just one time, lasting 8 measures and 14 seconds (10.1% of the song's duration).

[2] "P. S. I Love You"
The middle 8 appears twice, lasting 8 measures and 14 or 15 seconds each time. In addition, the introduction is based on the middle 8. Adding the introduction to the two iterations of the middle 8, the middle 8 comprises 35.5% (43 of 121 seconds) of the song's duration. This is significantly more formal weight than in "Love Me Do".

[3] "Please Please Me"
The middle 8 appears just once, lasting 10 measures (the last two of which are transitional, leading back to the verse) and 17 seconds (14.5% of the song's duration).

[4] "Ask Me Why"
The middle 8 appears twice, lasting 8 measures and 14 seconds both times, totaling 19.4% (28/144) of the song's duration.

[5] "There's a Place"
The middle 8 appears just once, lasting 10 measures (including a 2 measure transition at the end, which leads back to the verse) and 17 seconds (15.7% of the song's duration).

[6] "I Saw Her Standing There"
The middle 8 is used twice, lasting 10 measures and 14 or 15 seconds each time, totaling 17.0% (29/171) of the song's duration.

[6b] "A Taste of Honey"
The middle 8 is used twice, lasting 6 measures and 13 seconds the first time and 10 seconds the second time (in which it is slightly abbreviated because part way through it jumps to the coda), totaling 19.2% (23/120) of the song's duration. This is the first instance of a middle 8 changing time signatures (from triple to quadruple). It is also, however, not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[7] "Do You Want to Know a Secret"
The middle 8 is used just once, lasting 6 measures, and 12 seconds (10.4% of the song's duration).

[8] "Misery"
The middle 8 is used twice, lasting 8 measures and 14 seconds each time, totaling 26.7% (28/105) of the song's duration.

[9] "Hold Me Tight"
The middle 8 is used twice, lasting 7 measures and 12 seconds each time, totaling 16.0% (24/150) of the song's duration.

[9b] "Anna (Go To Him)"
The middle 8 is used twice, lasting 16 measures and 34 or 35 seconds each time, totaling 39.9% (69/173) of the song's duration. These middle 8s are given significantly more structural weight than any other Beatles track recorded so far with the exception of "P. S. I Love You". However, "Anna" is not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[9c] "Boys"
This is the first instance of a Beatles song that does not use a middle 8. However, "Boys" is not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[9d] "Chains"
The middle 8 is used twice, lasting 8 measures and 15 seconds each time, totaling 21.0% (30/143) of the song's duration. However, "Chains" is not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[9e] "Baby It's You"
"Baby It's You" does not use a middle 8. However, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[9f] "Twist and Shout"
"Twist and Shout" does not use a middle 8. However, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[10] "From Me To You"
The middle 8 is used twice, lasting 8 measures and 14 seconds each time, totaling 24.1% (28/116) of the song's duration.

[11] "Thank You Girl"
The middle 8 is used just once, lasting 12 measures and 14 seconds, totaling 11.4% (14/123) of the song's duration.

[12] "She Loves You"
"She Loves You" does not use a middle 8. This is the first such instance found in a Beatles original.

[13] "I'll Get You"
The middle 8 is used once, lasting 8 measures and 13 seconds, totaling 10.3% (13/126) of the song's duration.

[13b] "You Really Got a Hold on Me"
The middle 8 appears twice, lasting 5 measures (including one measure of transition back to the verse) and 15 seconds each, totaling 16.7% (30/180) of the song's duration. However, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[13c] "Money (That's What I Want)"
"Money" does not use a middle 8. However, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[13d] "Devil in her Heart"
The middle 8 is used three times (the most so far), lasting 9 measures (including one measure of transition) and 18 seconds each time, totaling 37.2% (54/145) of the song's duration. However, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[13e] "Till There Was You"
The middle 8 is used twice, lasting 8 measures and 15 or 16 seconds each time, totaling 23.5% (31/132) of the song's duration. However, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[13f] "Please Mr. Postman"
"Postman" does not use a middle 8. However, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[14] "It Won't Be Long"
The middle 8 is used twice, lasting 8 measures and 14 or 15 seconds each time, totaling 22.1% (29/131) of the song's duration.

[14b] "Roll Over Beethoven"
The middle 8 is used once, lasting 12 measures and 12 seconds, totaling 7.4% (12/163) of the song's duration. This is the least of any Beatles recording that uses a middle 8; however, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[15] "All My Loving"
"All My Loving" is the second Beatles original not to use a middle 8 (the previous being [12] "She Loves You").

[16] "I Wanna Be Your Man"
"I Wanna Be Your Man" is the third Beatles original not to use a middle 8 (the previous being [12] "She Loves You", and [15] "All My Loving").

[17] "Little Child"
The middle 8 is used twice, lasting 6 measures and 10 or 11 seconds each time, totaling 20.8% (21/101) of the song's duration.

[18] "All I've Got To Do"
The middle 8 is used twice, the first iteration lasting 9 measures (the last of which is a transition) and 17 seconds the first time, and the second iteration lasting 11 measures (including an extension, which propels the song to its coda) and 21 seconds. These total 25.0% (30/120) of the song's duration.

[19] "Not a Second Time"
"Not a Second Time" is the fourth Beatles original not to use a middle 8 (the previous being [12] "She Loves You", [15] "All My Loving", and [16] "I Wanna Be Your Man").

[20] "Don't Bother Me"
The middle 8 is used twice, lasting 16 measures and 22 seconds each time, totaling 30.1% (44/146) of the song's duration.

[21] "I Want to Hold Your Hand"
The middle 8 is used twice, lasting 11 measures and 20 or 21 seconds each time. Additionally, for the second time (behind [2] "P. S. I Love You"), the introduction is based on the middle 8, lasting 4 measures and 7 seconds. Combining the intro and two middle 8s, that music accounts for 33.1% (48/145) of the song's duration.

[22] "This Boy"
The middle 8 is used once, lasting 8 measures and 26 seconds, totaling 19.3% (26/135) of the song's duration.

[23] "Can't Buy Me Love"
"Can't Buy Me Love" is the fifth Beatles original not to use a middle 8 (the previous being [12] "She Loves You", [15] "All My Loving", [16] "I Wanna Be Your Man", and [19] "Not a Second Time").

[24] "You Can't Do That"
The middle 8 is used twice, lasting 8 measures and 15 second each time, totaling 19.6% (30/153) of the song's duration.

[25] "And I Love Her"
The middle 8 is used once, lasting 8 measures and 18 seconds, constituting 12.2% (18/148) of the song's duration.

[26] "I Should Have Known Better"
The middle 8 is used twice, lasting 16 measures and about 29 seconds both times, totaling 36.0% (58/161) of the song's duration.

[27] "Tell Me Why"
The middle 8 is used just once, lasting 10 measures and 15 seconds,constituting 11.7% (15/128) of the song's duration.

[28] "If I Fell"
The middle 8 is used twice, lasting 5 measures and 11 seconds each, totaling 15.9% (22/138) of the song's duration.

[29] "I'm Happy Just To Dance With You"
The middle 8 is used twice, lasting 4 measures and 7 seconds each time, totaling 12.1% (14/116) of the song's duration.

[29b] "Long Tall Sally"
"Long Tall Sally" does not employ a middle 8; however, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[30] "I Call Your Name"
The middle 8 is used twice, lasting 8 measures and 16 or 15 seconds each, totaling 24.1% (31/128) of the song's duration. The middle 8 is particularly interesting in this number because it replaces the first half of verses 2 and 3. It retains its function as a harmonically contrasting section with the verse, but is always followed in both instances not by a whole verse, but only by the second half of a verse. Unusual.

[31] "A Hard Day's Night"
The middle 8 appears twice, lasting 8 measures and 14 seconds each time, totaling 18.3% (28/153) of the song's duration.

[31b] "Matchbox"
"Matchbox" does not employ a middle 8; however, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[32] "I'll Cry Instead"
The middle 8 is used twice, lasting 8 measures and 10 seconds each time, totaling 19.0% (20/105) of the song's duration.

[32b] "Slow Down"
"Slow Down" does not employ a middle 8; however, it is also not an original song, and thus does not accurately portray the Beatles' own compositional decisions.

[33] "I'll Be Back"
"I'll Be Back" is the first Beatles song to date using two different middle 8s. They both serve the same basic function of contrasting with the verses (which is why I classify them both as middle 8s), but they are distinctly different from each other, with only the endings bearing any resemblance. The first middle 8 is used twice, lasting 6.5 measures (the seventh is a 2/4 bar, while the rest of the song is in common time) and 12 or 13 seconds. The second middle 8 is used once, lasting 9.5 measures (again, the final bar is a 2/4) and 18 seconds. Combine the two middle 8s together, and they total 30.5% (43/141) of the song's duration. While 30.5% is not the greatest proportion so far, the fact that two different middle 8s are used in "I'll Be Back" illustrates a significant increase in structural weight given to the middle 8. 

[34] "Any Time At All"
"Any Time At All" is the sixth Beatles original not to use a middle 8 (the previous being [12] "She Loves You", [15] "All My Loving", [16] "I Wanna Be Your Man", [19] "Not a Second Time", and [23] "Can't Buy Me Love").

[35] "Things We Said Today"
The middle 8 is used twice, lasting 8 measures and 16 seconds both times, totaling 20.8% (32/154) of the song's duration. Furthermore, the song is in A minor, however in both iterations of the middle 8, that switches to the parallel major. In other words, the middle 8s are emphasized (i.e. given more structural weight) by changing the tonality from A minor to A major.

[36] "When I Get Home"
The middle 8 is used once, lasting 10 measures and 21 seconds, constituting 15.6% (21/135) of the song's duration.

Conclusions
All of this data might be more easily observable in this chart.

Of the Beatles first 36 original songs, 30 employ at least one middle 8. Clearly, the Beatles as composers value the structural benefits of a section that contrasts harmonically with the verses. That being said, at this early stage in their career, the middle 8 comprises only about 20% of the song (give or take 10%).

Every song, of course, needs something to contrast the verses, otherwise the song would be quite monotonous. The six tunes that do not employ a middle 8 feature a chorus that serves this contrasting function. Of these six, two ([15] "All My Loving" and [19] "Not a Second Time") blur the line between middle 8 and chorus - they could be interpreted either way.

The next step is to do a similar analysis of the middle 8s in subsequent Beatles songs and then compare and contrast with the ones analyzed above.

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.

I have done several posts on the use of minor dominants in early Beatles music (as used in "From Me To You" on 11/17, in "Do You Want to Know a Secret" on 11/22, and in "I Want to Hold Your Hand" on 11/23). To illustrate through side-by-side comparisons, I created MIDI examples showing what these various songs sound like using both major and minor dominant chords. This blog, then, will reverse the concept: Instead of illustrating what songs that use minor dominants would sound like had they chosen to use major dominants, here are several early Beatles songs that use major dominants with examples of what they would have sounded like had they chosen to use minor dominants.

"Love Me Do"    Excerpt with major dominant      Excerpt with minor dominant
"Hold Me Tight"   Excerpt with major dominant    Excerpt with minor dominant
"Thank You Girl"     Excerpt with major dominant       Excerpt with minor dominant
"Please Please Me"    Excerpt with major dominant    Excerpt with minor dominant

Most listeners are probably familiar with "From Me To You", "Do You Want to Know a Secret", and "I Want to Hold Your Hand" - but it is precisely that familiarity that masks the unusualness of the progression. The excerpts above provide more obvious examples of how strange this particular chord really is (or at least, was for the early 1960's).