May 16: "The Influence of American Rock 'n' Roll on the Beatles" at the Elmwood Park Library
The other day, I re-analyzed the form of 'She Loves You', mentioning that it was a "deceptive AABA" structure because the B section was a chorus instead of a bridge. And while 'She Loves You' was the first deceptive AABA the Beatles wrote and recorded, it is not the only one. There are 18 more:
Notice that the term "deceptive AABA" does NOT mean that the song is NOT in AABA form (sorry for the double negative, but in this case it's needed). Rather, deceptive AABAs are in AABA form, it's just that they use something other than the traditional bridge as the B section.
Like 'She Loves You', most of these songs are deceptive because they use a chorus to replace the bridge. But a handful employ other sections.
'Run For Your Life' uses a solo.
And while 'Eleanor Rigby' fits the traditional AABA model more closely than perhaps any other deceptive AABA, the final A section also features the chorus simultaneously, making it a quodlibet and an AABA in structure.
'Rigby', however, is not the only Beatles quodlibet. 'I've Got a Feeling' is one, too. The combination of the verse and chorus in 'Rigby' defines it as a quodlibet, but in 'Feeling' there are two different verses (A and B) which are combined at the end. The bridge in 'Feeling' functions in textbook fashion, thus, like 'Eleanor Rigby', 'I've Got a Feeling' is also both an AABA and a quodlibet.
Lastly, the Beatles do not use pre-choruses frequently, but on 'I Want You (She's So Heavy)' the pre-chorus functions as the B in its deceptive AABA structure.
I have an off-day today, but the tour resumes tomorrow evening at the Elmwood Park library:
Monday, 16 May 2016, 7:00-8:30 p.m.
Elmwood Park Public Library, 1 Conti Pkwy, Elmwood Park, IL
The Influence of American Rock 'n' Roll on The Beatles
Before the Beatles ever wrote their own songs or performed on stage, they were inspired to do so by American rock 'n' roll records. This 90-minute multimedia program will illustrate the influence of Carl Perkins, Elvis Presley, Chuck Berry, Little Richard, and other American recording artists from the 1950's on the Beatles through side-by-side comparisons and musical analysis of Beatles covers and original recordings.
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This blog is a workshop for developing my analyses of The Beatles' music.