[77] "Tomorrow Never Knows"
"Tomorrow Never Knows" is the 22nd Beatles original not to use a middle 8.

[78] "Got To Get You Into My Life"
"Got To Get You Into My Life" is the 23rd Beatles original not to use a middle 8. Instead, the bridge and chorus function as a contrast to the verses.

[79] "Love You To"
The middle 8 is used 4 times, lasting 6 measures and 11 seconds the first and third times, and 4 measures and 7 seconds the second and fourth times (where they meld seamlessly into sitar solos, accounting for their abbreviated length), all of which totals 20.0% (36/180) of the song's duration.

[80] "Paperback Writer"
"Paperback Writer" is the 24th Beatles original not to use a middle 8. Instead, the break functions as a contrast to the verses.

[81] "Rain"
The middle 8 is used twice, lasting 12 measures and averaging 27.5 seconds, totaling 30.6% (55/180) of the song's duration.

[82] "Doctor Robert"
The middle 8 is used twice, lasting 8 measures and 12 seconds each time, totaling 17.9% (24/134) of the song's duration.

[83] "And Your Bird Can Sing"
The middle 8 is used twice, lasting 8 measures and 15 seconds each time, totaling 25.0% (30/120) of the song's duration.

[84] "Taxman"
The middle 8 is use once, lasting 9 measures and 16 seconds, totaling 10.1% (16/158) of the song's duration.

[85] "I'm Only Sleeping"
The middle 8 is used twice, lasting 8 measures and 9 seconds each time, totaling 10.0% (18/179) of the song's duration.

[86] "Eleanor Rigby"
"Eleanor Rigby" is the 25th Beatles original not to use a middle 8. Instead, a bridge and chorus functions as a contrast to the verses.

[87] "For No One"
The middle 8 is used three times, lasting 5 measures and 15 seconds the first two times, and 5 measures and 19 seconds the third time (because it also functions as a coda), totaling 41.2% (49/119) of the song's duration.

[88] "Yellow Submarine"
"Yellow Submarine" is the 26th Beatles original not to use a middle 8. Instead, the breaks and choruses function as a contrast to the verses.

[89] "I Want to Tell You"
The middle 8 is used twice, lasting 8 measures and 15 seconds each time, totaling 20.4% (30/147) of the song's duration.

[90] "Good Day Sunshine"
"Good Day Sunshine" is the 27th Beatles original not to use a middle 8. Instead, the choruses function as a contrast to the verses.

[91] "Here There and Everywhere"
The middle 8 is used twice, lasting 4 measures and 12 second each time, totaling 16.7% (24/144) of the song's duration. This middle 8 modulates from G major to B-flat major, the same tonal relationship (Tonic to flat submediant and back) that was used in [48] "Another Girl" and [55] "You're Going to Lose That Girl")

[92] "She Said She Said"
The middle 8 is used twice, lasting 11 measures and averaging 20 seconds each time, totaling 25.6% (40/156) of the song's duration. This middle 8 employs two sub-sections, changes time signature from quadruple to triple, and tonicizes (but NOT modulates to!) E-flat.

As with the previous chapters of this study, I am including a chart that summarizes all my findings to this point:

Formal structure of "Paperback Writer":
          Intro (break)         0:00-0:13*
               (vocal  0:00-0:06)
               (instr. 0:06-0:13)
          Verse 1                    0:13-0:31
          Verse 2                   0:31-0:49
          Break                       0:49-1:02
               (vocal  0:49-0:55)
               (instr.  0:55-1:02)
          Verse 3                   1:02-1:20
          Verse 4                  1:20-1:38*
          Break                      1:38-1:50
               (vocal  1:38-1:45)
               (instr.  1:45-1:51)
          Coda (break)        1:51-2:16

Comments: "Paperback Writer" is yet another Beatles tune which uses a 2-part introduction (along with [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [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)", [65] "Day Tripper", and [66] "If I Needed Someone", and [77] "Tomorrow Never Knows", and [79] "Love You To"). In this case, the 2 parts of the intro are (1) vocal polyphony, and (2) the rhythm section.

This 2-part pattern reappears throughout the song as breaks from the verses. In fact, the intro is almost identical to the subsequent breaks - the only difference is that the drums take a few beats longer to establish the beat in the intro than in the breaks.

To coda, too, is based on the break, though in this case it stretches out the title lyrics and eventually fades out (as opposed to using the two-part structure discussed above).

Lastly, "Paperback Writer" features contiguous verses, which itself is nothing terribly unusual ([1] "Love Me Do", [6] “I Saw Her Standing There”, [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", and [77] "Tomorrow Never Knows" and feature contiguous verses, too). What is unusual, though, is the fact that "Paperback Writer" is just the 5th of these 41 songs - the three previous examples being [19] "Not a Second Time" (in which verses 1 and 2 are contiguous, as are verses 3 and 4), [31b] "Matchbox" (in which the first three and last two verses are contiguous), [56b] "Dizzy Miss Lizzy" (in which verses 1 and 2 are contiguous, as are verses 4 and 5), and [77] "Tomorrow Never Knows" (in which verses 1-3 are contiguous, as are verses 4-7) - to feature contiguous verses other than verse 1 and verse 2. In this case, verses 1-2 are contiguous, as are verses 3-4.