Much like  "Get Back", "Let it Be" is unusual in the Beatles catalog because it was released three different times: as a single, as part of Let it Be, and Let it Be ... Naked. This post will observe and analyze all three different versions, which share similar structures if not exact timings.
Formal structure of  "Let it Be":
Comments: "Let it Be" uses contiguous choruses, something only 10 Beatles songs have used up to this point. [44b] "Kansas City/Hey Hey Hey Hey" used four contiguous choruses, but they were two different choruses (Chorus #1, Chorus #1 again, Chorus #2, Chorus #2 again);  "I'm Down",  "Think For Yourself",  "Good Day Sunshine",  "It's All Too Much", and  "All You Need Is Love" all used three contiguous choruses, with the third doubling as the coda;  "Blue Jay Way" uses four contiguous choruses, with the fourth doubling as the coda;  "Savoy Truffle" used two contiguous choruses, with the second doubling as the coda;  "The Continuing Story of Bungalow Bill" uses four contiguous choruses immediately prior to the coda; and  "Cry Baby Cry" uses three contiguous choruses immediately preceding a musically independent coda, which is the same pattern used in "Let it Be".
Even more rare is the use of contiguous tags. At some point I will have to revisit my earlier formal analyses and include tags (I only started identifying tags about half way through), so I cannot say conclusively what other Beatles songs to date also feature contiguous tags. But only "In My Life" comes to mind off the top of my head.
The macro-scale formal layout of "Let it Be" can be seen as two parts: the first comprised of a verse + a chorus (indicated below in red), the second of a verse + multiple choruses. In the middle are the two contiguous tags, and bookending the entire structure is the introduction and coda.
This blog is a workshop for developing my analyses of The Beatles' music.