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Formal structure of [145] "I Will": Verse 1 0:00-0:17 Tag 0:17-0:22 Verse 2 0:22-0:38 Tag (abbr.) 0:38-0:40 Middle 8 0:40-0:59 Verse 3 (ext.) 0:59-1:24 Tag (ext.) 1:24-1:34 Coda (m8) 1:34-1:45 Comments: The structure of "I Will" is very basic and clear. The tag's function is textbook in that it could easily be interpreted as part of the verse. With that in mind, verses 1 and 2 can be seen as contiguous, just as they were 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", [99] "Fixing a Hole", [100] "Only a Northern Song", [101] "Being for the Benefit of Mr. Kite", [105] "Within You Without You", [111] "All Together Now", [114] "All You Need Is Love", [116] "I Am the Walrus", [122] "Lady Madonna", [126] "Don't Pass Me By", [128] "Blackbird", [129] "Everybody's Got Something to Hide Except for Me and My Monkey", [135] "Sexy Sadie", [138] "Mother Nature's Son", [139] "Yer Blues", [140] "Rocky Raccoon", [143] "Dear Prudence", and [144] "Glass Onion". Also, notice how different in duration the tags are - the tag following verse 1 is 5 seconds, while the tag following verse 2 is abbreviated (just 2 seconds), and the tag following verse 3 is extended (10 seconds). 
The tag following verse 2 is half as long and the notes are slightly different (to reinforce the different harmonies) than the original. Conversely, the tag following verse 3 is twice as long as the original and, though clearly related, also uses different pitches to reinforce the underlying chords. Similarly, the third verse is also extended, which propels the song to its conclusion. 
These subtle, organic changes (to both the tag and the verse) prevent the very simple macro-scale formal structure from becoming too predictable or repetitive.
Lastly, a less common tactic employed in this tune is basing the coda on the middle 8, something only found previously in [15] "All My Loving", sort of in [67] "In My Life", and [142] "Back in the USSR".
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[121] "The Inner Light" The middle 8 is used twice, lasting 8 or 9 measures and 23 or 18 seconds each time (the second iteration transitions to the coda, accounting for the slightly shortened duration), totaling 26.3% (41/156) of the song's duration. [122] "Lady Madonna" The middle 8 is used thrice (with the middle of those three replacing vocals with a saxophone solo), lasting 8 measures and 18 or 17 seconds each time, totaling 38.7% (53/137) of the song's duration. The middle 8s also modulate from A Major to C Major. [123] "Across the Universe" "Across the Universe" is the 46th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [124] "Hey Bulldog" "Hey Bulldog" is the 47th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [125] "Revolution 1" "Revolution 1" is the 48th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [126] "Don't Pass Me By" "Don't Pass Me By" is the 49th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [127] "Revolution 9" "Revolution 9" is the 50th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [128] "Blackbird" The middle 8 is used twice, lasting 4.5 measures and 11.5 seconds each time, totaling 16.7% of the song's duration. [129] "Everybody's Got Something to Hide Except for Me and My Monkey" "Everybody's Got Something to Hide Except for Me and My Monkey" is the 51st Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [130] "Good Night" The middle 8 is used thrice, lasting 4 measures and 14 or 15 seconds each time, totaling 22.3% of the song's duration. [131] "Ob-La-Di Ob-La-Da" The middle 8 is used twice, lasting 8 measures and 15 seconds both times, totaling 16.0% of the song's duration. The middle 8 tonicizes IV. [132] "Revolution" "Revolution" is the 52nd Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [133] "Cry Baby Cry" "Cry Baby Cry" is the 53rd Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [134] "Helter Skelter" "Helter Skelter" is the 54th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [135] "Sexy Sadie" The middle 8 is used twice, lasting 5.5 measures and averaging 11.5 seconds each time, totaling 11.9% of the song's duration. [136] "While My Guitar Gently Weeps" The middle 8 is used twice, lasting 16 measures and 34 seconds each time, totaling 23.69% of the song's duration. The middle 8 modulates from A minor to A major. [137] "Hey Jude" The middle 8 is used twice, lasting 11.5 measures and 37.5 seconds each time, totaling 17.5% of the song's duration. [138] "Mother Nature's Son" The middle 8 is used twice, lasting 7.5 measures and 21 seconds each time, totaling 25.1% of the song's duration. [139] "Yer Blues" The middle 8 is used thrice, lasting 4 measures and averaging about 10 seconds each, totaling 12.1% (29/239) of the song's duration. [140] "Rocky Raccoon" The middle 8 is used twice, lasting 8 measures the first time and 9 measures the second (because the second middle 8 concludes the song), averaging 24 seconds each, which totals 22.6% (48/212) of the song's duration. [141] "Wild Honey Pie" "Wild Honey Pie" is the 55th Beatles song not to use a middle 8. The novel structure of the song has no need for a middle 8. [142] "Back in the USSR" The middle 8 is used twice, lasting 10 measures and 17 seconds each time, totaling 14.7% (24/163) of the song's duration. [143] "Dear Prudence" The middle 8 is used once, lasting 5.5 measures and 17 seconds, totaling 7.2% (17/235) of the song's duration. [144] "Glass Onion" The middle 8 is used once, lasting 10 measures and 19 seconds, totaling 13.9% (19/137) of the song's duration. This middle 8 concludes with two bars borrowed from the end of verse B. [145] "I Will" The middle 8 is used once, lasting 8 measures and 19 seconds, totaling 18.1% (19/105) of the song's duration. [146] "Birthday" The middle 8 is used twice, lasting 10 measures and 14 seconds each time, totaling 17.3% (28/162) of the song's duration. The middle 8 modulates form A major to C major. [147] "Piggies" The middle 8 is used once, lasting 7 measures and 18 seconds, totaling 14.6% (18/123) of the song's duration. [148] "Happiness is a Warm Gun" "Happiness is a Warm Gun" is the 56th Beatles song not to use a middle 8. The novel structure of the song has no need for a middle 8. [149] "Honey Pie" The middle 8 is used twice, lasting 8 measures and 13 seconds each time, totaling 16.3% (26/160) of the song's duration. [150] "Savoy Truffle" The middle 8 is used twice, lasting 8 measures and averaging 15.5 seconds, totaling 21.1% (31/174) of the song's duration. [151] "Martha My Dear" The middle 8 is used twice, with the first iteration incorporating a substantial extension. The first middle 8 (extension included) is 15.5 measures and 42 seconds long; the second is 8.5 measures and 23 seconds long. Combine these two, and the middle 8 totals 43.9% (65/148) of the song's duration. [152] "Long Long Long" The middle 8 is used once, lasting 7.5 measures and 26 seconds, totaling 14.1% (26/185) of the song's duration. [153] "I'm So Tired" "I'm So Tired" is the 57th Beatles song not to use a middle 8. Instead, the chorus serves as a contrast to the verses. [154] "The Continuing Story of Bungalow Bill" "The Continuing Story of Bungalow Bill" is the 58th Beatles song not to use a middle 8. Instead, the chorus serves as a contrast to the verses. [155] "Why Don't We Do It In The Road" "Why Don't We Do It In The Road" is the 59th Beatles song not to use a middle 8. (There is no contrast to the verses, with the possible exception of the percussion introduction). [156] "Julia" The middle 8 is used once, lasting 5 measures and 18 seconds, totaling 10.2% (18/176) of the song's duration. Updated cumulative chart: 
Deceptive cadences refer to a particular pattern of chords in which the chord built on the fifth scale degree, which usually resolves to the first scale degree, instead proceeds to the sixth scale degree. This may be expressed in roman numerals as follows:
Authentic: V-I Deceptive V-vi (or, less commonly, V-bVI) One of the defining characteristics of a deceptive cadence is the aural anticipation of tonic following the dominant chord. That expectation is then thwarted, thus the term "deceptive". Additionally, cadences by definition conclude phrases. Deceptive cadences, then, may only be found at the ends of phrases. Many Beatles songs ([5] "There's a Place", [11] "Thank You Girl", [12] "She Loves You", [25] "And I Love Her", [34] "Any Time At All", [40] "I Don't Want to Spoil the Party", [47] "Ticket to Ride", [50] "Yes It Is", [52] "You Like Me Too Much", [64] "Drive My Car", [68] "We Can Work it Out", [70] "I'm Looking Through You", [96] "A Day in the Life", [106] "She's Leaving Home", [144] "Glass Onion" [154] "The Continuing Story of Bungalow Bill", [170] "Something", [174] "Her Majesty", and [185] "Because") use the same chords that would be used in a deceptive cadence, but these are not actually so because they bridge phrases (with V concluding the former phrase and vi starting the new phrase) rather than conclude them (with V-vi concluding the former phrase and the new phrase beginning on some other chord). Conversely, some songs ([21] "I Want to Hold Your Hand", [26] "I Should Have Known Better", [27] "Tell Me Why", [29] "I'm Happy Just To Dance With You", [32] "I'll Cry Instead", [51] "The Night Before", [67] "In My Life", [87] "For No One", [93] "Strawberry Fields Forever", [94] "When I'm Sixty-Four", [107] "With a Little Help From My Friends", [114] "All You Need Is Love", [120] "Hello Goodbye", [147] "Piggies", [153] "I'm So Tired", [164] "Let It Be", [171] "Oh! Darling", [183] "Polythene Pam") use the right chords in the middle of their progression - rather than at the end as part of a cadence. More unusually, [43] "Eight Days a Week" uses the same chords not as V to vi, but as bVII to i during a tonicization of the relative minor during the Middle 8; and [181] "Sun King" uses the chords, but in a non-functional harmonic context. All of these instances are not examples of deceptive cadences and are thus purposely omitted from the list below. With those out of the way, 7 Beatles songs actually do employ true deceptive cadences, and each is identified below with analysis and explanation. [2] "P. S. I Love You" uses probably the most blatant of all the Beatles' deceptive cadences a total of four times (0:25, 0:43, 1:15, 1:47), each iteration using the same lyrics and chords. A Bb C D P. S. I love you, you, you, you. V bVI bVII I Deceptive cadences, as their name implies, are deceiving by nature. But this particular deceptive cadence draws further attention to itself by proceeding from V to bVI - a strikingly foreign chord in D major. In a textbook example of a deceptive cadence, the insertion of this bVI extends the phrase (from what would have been 8 bars to 10) and delays the eventual resolution to I. [7] "Do You Want to Know a Secret" uses the five iterations of the same deceptive cadence: 0:38, 1:05, 1:43, 1:47, 1:51 - the first three of which come at the end of each verse; the last two coming in quick succession as part of the song's coda, which fades out as the cadence repeats. F#m B7 A B7 C#m Say the words you long to hear: I'm in love with you. ii V7 IV V7 vi This deceptive cadence also extends the phrase and delays tonic by two measures. [19] "Not a Second Time" uses a total of three deceptive cadences (0:41, 1:01, 1:47), the first and last of which are to identical lyrics sung by Lennon . . . Am Bm D7 Em You hurt me then, You're back again, No no no, Not a second time. ii iii V7 vi . . . while the middle cadence is during the solo, which employs the same melody and chords as the outer deceptive cadences, just played by a piano instead of sung by Lennon. In all three instances, the deceptive cadences replace resolution to tonic (rather than delay resolution to tonic, as was the case with "P. S. I Love You" and "Do You Want to Know a Secret".) [36] "When I Get Home" is the jackpot for Beatles songs that use deceptive cadences. With a total of nine iterations of four unique progressions, it uses more deceptive cadences than any other Beatles tune. The first (the most frequent with four occurring at 0:12, 0:42, 1:13, and 1:47) appears near the conclusion of each chorus with identical lyrics and chords each time. D7 G7 Am I got a whole lot of things to tell her when I get home II7 V7 vi The next-most-frequent, with three instances occurring at 0:31, 1:01, and 1:51, appears near the end of each verse, with identical chords but different lyrics each time. C F7 G7 A I've got a whole lot of things I've got to say to her. Woah-oh-oh-ah I've got a girl who's waiting home for me tonight. Woah-oh-oh-ah. I've got no business being here with you this way. Woah-oh-oh-ah. I IV7 V7 VI These deceptive cadences vary slightly from the previous examples (from the same song) because while they both feature G7 (V7) chords followed by chords based on A, the former uses A minor while the latter uses A major. The last two instances are both unique in the song. At 1:32, near the end of the Middle 8: F G7 Am till I walk out that door again. IV V7 vi The final deceptive cadence, occurring at 2:02, is identical to those four occurring at 0:12, 0:42, 1:13, and 1:47 except for the final chord, which is major instead of minor. In this way, this cadence may be viewed as a combination of the previously heard deceptive cadences, with the purpose to propelling the song to its conclusion. D7 G7 A I got a whole lot of things to tell her when I get home II7 V7 VI In all nine instances of deceptive cadences in "When I Get Home", the deceptive cadence expands the phrase and delays the resolution of tonic. [131] "Ob-La-Di Ob-La-Da" uses just one deceptive cadence (2:58) but it's also one of the more obvious in the Beatles repertoire because by the time we hear the deceptive cadence, we have already heard it as an authentic cadence (V to I) 3 times (0:42, 1:16, 2:07). In explicit and definitive terms, then, this deceptive cadence serves to prolong the phrase and delay the resolution to tonic. Bb Dm/F Gm7 Bb F7 Gm Ob-la-di Ob-la-da Life goes on bra, La la how the life goes on. I iii/5 vi7 I V7 vi In [145] "I Will", all four deceptive cadences are saved for the end of the song. The final verse substitutes vi for I three times (1:11, 1:15, and 1:20), prolonging the phrase and delaying tonic resolution - but not before the really attention-grabbing deceptive cadence at 1:25, which pulls the same stunt (V to bVI) McCartney used way back in "P. S. I Love You". Bb C7 Dm Bb F (Fdim Gm C7 Db7) Sing it loud so I can hear you Make it easy to be near you For the things you do endear you to me and you know I will IV V7 vi IV I i* ii V7 bVI [172] "Octopus's Garden", just like "I Will", saves both of its deceptive cadences for the coda (2:34, and 2:39). A B C#m A B C#m In an octopus's garden with you. In an octopus's garden with you. IV V vi IV V vi Both of these deceptive cadences prolong the final verse, propelling the son to its conclusion, and delay resolution of tonic. OBSERVATIONS & CONCLUSIONS:
1963: 2 ([7] "Do You Want to Know a Secret", [19] "Not a Second Time") 1964: 1 ([36] "When I Get Home") 1965: 0 1966: 0 1967: 0 1968: 2 ([131] "Ob-La-Di Ob-La-Da", [145] "I Will") 1969: 1 ([172] "Octopus's Garden") |
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