Formal structure of [175] "Golden Slumbers":
        Intro (v)  0:00-0:03
        Verse 1    0:03-0:34
        Chorus    0:34-1:02   
        Verse 2   1:02-1:31      

Comments: The A-B-A formal design is rather similar to [96] "A Day in the Life", albeit in miniature.

The verses and chorus all end with the same musical material ("Sleep pretty darling do not cry...").

The second verse segues without pause into [176] "Carry That Weight".

Formal structure of [174] "Her Majesty":
          Chord    0:00-0:01
          Verse     0:01-0:26

Comments: One of the shortest Beatles songs ever released, "Her Majesty" consists only of two structural components: the brief opening chord, and a single verse.

Interestingly enough, despite its brevity, that single verse does follow the "third quarter is different" pattern that the Beatles used previously in [6] “I Saw Her Standing There”, [31] "A Hard Day's Night", [35] "Things We Said Today", [40] "I Don't Want to Spoil the Party", [42] "No Reply", [43] "Eight Days a Week", [49] "I Need You", [51] "The Night Before", [70] "I'm Looking Through You", [74] "Wait", [75] "You Won't See Me", and [172] "Octopus's Garden".

Formal structure of [173] "You Never Give Me Your Money":
       Part A      A minor
              0:00-0:23     [instrumental]
              0:23-0:46      "You never give me your money..."
              0:46-1:10       "I never give you my number..."

       Part B      C major
              1:10-1:32 "Out of college, money spent..."
              1:32-2:10  "But oh that magic feeling..."
              2:10-2:28    [instrumental]

       Part C      A major
              2:28-2:39    "One sweet dream...."
              2:39-2:48     "Soon we'll be away from here..."
              2:48-3:09    "Came true today..."
              3:09-4:03     "One, two, three, four, five, six seven..."

Comments: Much like [148] "Happiness is a Warm Gun", "You Never Give Me Your Money" is a series of fragments that bear little musical similarities. Instead, they rely more on immediate repetition to establish formal autonomy within each section.

All three sections of Part A last 8 measures and employ the same chord progression.

The first section of Part B can be broken down into two iterations of a 4 measure phrase that employ an identical chord progression. The second section can also be broken down into 5 iterations of a 3 measure phrase that employ an identical chord progression, the last of which is truncated by an overlap with... The third section is instrumental and transitional in nature as it bridges Part B with Part C.

Part C, then, consists of four sections, the first of which repeats the chord progression heard at the start of Part B section 3, but now in A major instead of C major. That first section lasts just 4 measures before we hear section 2, which also lasts just 4 measures (although the fourth of these is a 2/4 bar whereas the first three were all 4/4, so it's more like three and a half measures in duration). The first two measures of section 2 use independent chords, but the last two (or one and a half) borrow the first two chords of section 1. Sections 3 and 4 repeat the same 2-measure chord progression over and over. The difference between the two sections, then, are less musical than lyrical, with McCartney alone singing the former, and multiple voices in harmony singing the latter.

And if you've read this far and have followed any of the above, I've done my job :-)

Formal structure of [172] "Octopus's Garden":
          Intro        0:00-0:10          
                guitar (ind)    0:00-0:05      
                beat (v)   0:05-0:10     E major
          Verse 1    0:10-0:52           E major
          Verse 2    0:52-1:34           E major
          Solo/Middle 8  1:34-1:55  A major
          Verse 3    1:55-2:34           E major
          Coda (v)  2:34-2:50           E major

Comments: Using a tactic used more by the Beatles in their earlier years, "Octopus's Garden" uses a two-part introduction (as did [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", [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)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [89] "I Want to Tell You", [92] "She Said She Said", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", [114] "All You Need Is Love", [125] "Revolution 1", [126] "Don't Pass Me By", [130] "Good Night", [131] "Ob-la-di Ob-la-da", [134] "Helter Skelter", and [138] "Mother Nature's Son") with a guitar lead in for two measures before the whole rhythm section joins in with a truncated (2 bars instead of 4) statement of the verses' chord progression.

Similarly, the verses feature a 4-part structure that was also more common in the band's earlier recordings) in which the first, second, and fourth quarters of each verse are very similar, but the third quarter is substantially different. The Beatles had used similar four-part verse structures in [6] “I Saw Her Standing There”, [31] "A Hard Day's Night", [35] "Things We Said Today", [40] "I Don't Want to Spoil the Party", [42] "No Reply", [43] "Eight Days a Week", [49] "I Need You", [51] "The Night Before", [70] "I'm Looking Through You", [74] "Wait", and [75] "You Won't See Me". More on this when I do my harmonic analysis of the song.

In addition, verses 1 and 2 are contiguous (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", [144] "Glass Onion", [145] "I Will", [149] "Honey Pie", [152] "Long Long Long", [163] "For You Blue", [166] "One After 909", and [172] "Oh! Darling").

All of the things mentioned above illustrate how this Ringo composition employs the tricks of many early Lennon/McCartney numbers. Nothing against the song or the songwriter, but it is clearly based on the songwriting formulas from previous Beatles recordings. There is, however, one thing unusual and more original aspect of "Octopus" that the Beatles had not done very much: there is a key change at the solo. That alone is not terribly uncommon - [25] "And I Love Her", [55] "You're Going to Lose That Girl", [71] "Michelle", [76] "Girl", [90] "Good Day Sunshine", [122] "Lady Madonna", and [170] "Something" all featured key changes at the point where the solo begins. But in "Octopus's Garden", the entire song is in one key (E major) except for the solo section (which is in A major). No other Beatles song to date uses a formal design in which the entire song is in a single tonality except for the solo section which is in another tonality. 

Furthermore, the labeling of the solo section in "Octopus" is somewhat ambiguous precisely because of the key change. Had the solo remained in E major, it would be very clearly labeled a solo. With the key change, however, it can be seen as a hybrid solo and middle 8 (key changes being something middle 8s have employed in past Beatles songs). Again, more on this notion when I do my harmonic analysis of "Octopus's Garden".

Lastly, the coda is largely an extension of verse. Quite similar to the songs recorded shortly prior (i.e. [168] "The Ballad of John and Yoko", and [169] "Old Brown Shoe"), the final verse is extended through repetition of the final line of lyrics. Unlike "Ballad" and "Show", however, which both repeated that last line once (so it's heard twice), "Octopus" repeats it twice (so it's heard a total of three times). This helps propel the song to its conclusion.

Formal structure of [171] "Oh! Darling":
          Intro (m8)  0:00-0:02*
          Verse 1         0:02-0:35
          Verse 2         0:35-1:08
          Middle 8      1:08-1:41
          Verse 3         1:41-2:14
          Middle 8      2:14-2:48
          Verse 4        2:48-3:18
          Coda (ind)  3:18-3:27*

Comments: The intro consists of the last chord (E+7) of the middle 8. The coda, by contrast, uses a Neapolitan seventh (B-flat 7) resolving down to tonic (A), which is never heard anywhere else in the song.

Verses 1 and 2 are contiguous (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", [144] "Glass Onion", [145] "I Will", [149] "Honey Pie", [152] "Long Long Long", [163] "For You Blue", and [166] "One After 909").

Formal structure of [170] "Something"
          Intro/Tag  0:00-0:05      C Major
          Verse 1        0:05-0:34      C Major
          Tag               0:34-0:38       C Major
          Verse 2        0:38-1:14       C Major
          Tag               1:07-1:14        transitional (C Major to A Major)
          Middle 8     1:14-1:42        A Major
          Solo (v)       1:42-2:10        C Major
          Tag               2:10-2:14       C Major
          Verse 3        2:14-2:43       C Major
          Coda/Tag x2   2:43-3:02       C Major (A Major)*

Comments: The tag's structural function is textbook, serving as both the intro and outro, plus serving as "structural glue" to adhere the various formal components together into a composite whole, and also helping articulate the large-scale tonal design of the song through transitional passages.

The coda is the tag heard twice, repeating the version heard from 1:07-1:14, then the version heard from 0:00-0:05, 0:34-0:38, and 2:10-2:14 to conclude the song.

In addition to all of that, the range of the opening tag (a to c) anticipates the macro-scale tonal plan of A major juxtaposed with C major, something the Beatles had done previously in [48] "Another Girl", [55] "You're Going to Lose That Girl", [122] "Lady Madonna", [146] "Birthday", and [154] "The Continuing Story of Bungalow Bill", and would use extensively on the B-side of Abbey Road.

Formal structure of [169] "Old Brown Shoe":
          Intro (v)    0:00-0:07

          Verse 1       0:07-0:34
          Tag              0:34-0:38

          Verse 2       0:38-1:04
          Middle 8    1:04-1:24

          Solo 1 (v/tag)   1:24-1:38*
          Solo 2 (v)   1:38-1:51*
          Middle 8     1:51-2:12

          Verse 3        2:12-2:39
                Ext              2:39-2:45
          Coda (v/tag)  2:45-3:18

Comments:   2 solos (like [29b] "Long Tall Sally", [38] "I'm a Loser", [46b] "Everybody's Trying to Be My Baby", [46e] "Honey Don't", [58] "I'm Down", and [119] "The Fool on the Hill", [160] "Get Back", and  [163] "For You Blue". The two solos function structurally as a verse (same chords as heard in the verses), with each solo taking up half of that verse. The first solo is simply the tag expanded through immediate repetition and sequencing. The second solo is a "legit" solo.

Much like the previous [168] "The Ballad of John and Yoko", the final verse is extended through the immediate repetition of the last line of lyrics. This extension propels the song to its coda.

Counting the solos as a verse, then, the macro-scale formal design is comprised of verses + either a tag or middle 8.

Formal structure of [168] "The Ballad of John and Yoko":
          Intro (v)   0:00-0:03

          Verse 1      0:03-0:18
          Chorus      0:18-0:32

          Verse 2     0:32-0:46
          Chorus      0:46-1:00

          Verse 3     1:00-1:14
          Chorus      1:14-1:28

          Middle 8  1:28-1:44

          Verse 4     1:44-1:58
          Chorus      1:58-2:12

          Verse 5      2:12-2:26
          Chorus       2:26-2:40
                    Ext.       2:40-2:47

          Coda 2:47-2:59

Comments: The last chorus is extended by the immediate repetition of the lyrics "The way things are going, they're gonna crucify me." This extension helps propel the song to its coda.

The macro-scale structure of the song can be seen as 5 iterations of verse + chorus, the third and fourth of which are separated by the middle 8, the product of which is bookended by an intro and coda.

Formal structure of [167] "I Want You (She's So Heavy)":
          Intro (ch)    0:00-0:13

          Verse 1a       0:13-0:36
          Verse 1b       0:36-0:53
          Transition   0:53-1:05

          Verse 2a       1:05-1:27
          Verse 2b       1:27-1:44
          Transition    1:44-1:56
          Chorus           1:56-2:25

          Solo (verse a)   2:25-2:48
          Solo (verse b)  2:48-3:06
          Transition    3:06-3:18
          Chorus           3:18-3:45

          Verse 3a        3:45-4:07
          Verse 3b        4:07-4:24
          Transition    4:24-4:36
          Chorus           4:36-7:44

Comments: Each verse has two subsections, both featuring the same melodies and similar chords, but a fourth higher (the first half is centered around A minor, while the second half is centered around D minor - though it certainly is not a key change).

The transitions that follow each verse are perfectly designed to be tags, however with no defining musical motif, I have to call them transitions.

The song ends with the chorus, the 5-bar phrase that defines the chorus is heard 14 times and on the 15th time it is abruptly cut off. There is no coda. The purpose of the coda, of course, is to conclude the song. In this case, there is no conclusion, it simply stops. Thus, there will no concluding gestures, there can be no coda.

The macro-scale formal layout can be seen as 4 iterations of Verse (both parts a and b) + transition + chorus, with the first such iteration omitting the chorus, all of which is preceded by the introduction.

Formal structure of [166] "One After 909":
          Intro (v)     0:00-0:09
                    Anacrusis   0:00-0:01
                    Beat               0:01-0:09
          Verse 1        0:09-0:29
          Verse 2       0:29-0:51
          Middle 8    0:51-1:12
          Verse 3       1:12-1:33
          Solo (v)       1:33-1:54
          Middle 8     1:54-2:15
          Verse 4 (abbr.)  2:15-2:34
          Coda (ext. of v4)  2:34-2:54

Comments: The coda is an extension of the final verse.

The solo is based on the verse.

Verses 1 and 2 are contiguous (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", [144] "Glass Onion", [145] "I Will", [149] "Honey Pie", [152] "Long Long Long", and [163] "For You Blue").

The middle 8s each have two subsections - an 8 bar phrase, which is immediately repeated (with different lyrics).