This installment of my index of Beatles song structures will feature a new element to the analysis: tonality. The Beatles grew progressively more sophisticated in terms of tonality and tonal relations. In their first two albums, not a single song ever changes key. But beginning with "And I Love Her" on A Hard Day's Night, that changes. And since these changes in tonality often coincide with formal design, all of my structural analyses from now on will consider tonality where applicable.
Formal and tonal structure of  "And I Love Her":
Intro (verse) 0:00-0:09 C# minor
Verse 1 0:09-0:30 C# minor
Verse 2 0:30-0:50 C# minor
Middle 8 0:50-1:08 C# minor
Verse 3 1:08-1:29 C# minor
Solo 1:29-1:50 D minor
Verse 1:50- 2:11 D minor
Coda (verse) 2:11-2:28 D minor*
Comments: "And I Love Her" is the first Beatles recording to feature any sort of key change (the technical term is modulation). This happens right at the solo section, at 1:29, from C# minor up a half step to D minor - a modulation I've heard called the "shoehorn modulation", the "truck driver's modulation", and the "Barry Manilow modulation". It has sine become a cliche to jack up the tonality in the final chorus of a song. (Paul would use it again on  "Good Day Sunshine".) Although the key change sounds very natural, I have never been able to figure out why it's there. What purpose does it serve? Why right before the solo? I'm not sure.
The song ends with a D major chord - a Picardy Third, in which a composition in a minor key concludes on the parallel major.
This blog is a workshop for developing my analyses of The Beatles' music.