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.

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)