May 29: "The Beatles & The Rolling Stones" at Abbey Road on the River

SIMPLE SONG STRUCTURES, PART 2 OF 2

Despite the label of "simple", these forms can be quite complex. In their quest for contrast, the sub-structures of these simple forms can grow to be extremely sophisticated. For that reason, I label some tracks as having "(not so) simple" structures.

The Beatles' catalog includes 7 "(not so) simple" songs:

• 'Baby It's You'
• 'If I Fell'
• 'Tell Me What You See'
• 'In My Life'
• 'The Fool On The Hill'
• 'Everybody's Trying to Be My Baby'
• 'Yer Blues'
• 'Come Together'

​

*   *   *   *   *   *   *   *   *

​What better way to set up a simple structure song than with an introduction entirely unrelated to the song body? The introduction on 'If I Fell' is not only unrelated in terms of melody, but also in terms of tonality: The intro is in Db major, while the song proper is in D major. Only 'The Continuing Story of Bungalow Bill' (whose intro is in e minor, while the song body vacillates among A minor, A major, and C major) matches 'If I Fell' in that claim. (Curiously, 'Lovely Rita' is the opposite: It has a coda in Ab minor, while the song body is in Eb major.)

After that introduction, the first verse features three phrases: a four-measure expository statement, a five-measure revision of that statement, and a single-measure turnaround to propel the music to verse 2.

     (A) Verse 1      0:19-0:40
          (b) statement (4)
          (b') revision (5)
          (c) turnaround (1)

This second verse starts exactly the same as the first, with that same four-measure expository statement (though different lyrics). But the second phrase revision is elongated to a six-measure phrase. The purpose of that extension is to introduce a departure phrase that functions like a bridge (providing contrast) but is clearly part of the verse itself. The following two-measure turnaround phrase is itself a revision of that departure phrase.

     (A') Verse 2      0:40-1:13
          (b) statement (4)
          (b'') revision (6)
          (d) departure (3)
          (d') turnaround (2)

The third verse repeats this phrase pattern of the second verse, including its bridge-like departure and turnaround.

     (A') Verse 3      1:13-1:46
          (b) statement (4)
          (b'') revision (6)
          (d) departure (3)
          (d') turnaround (2)

But the fourth and final verse is altered once again, this time to function as the conclusion. The first two phrases (the statement and revision) are identical to verse 1. But where the first verse implemented a turnaround at its end, verse 4 implements a new and more final conclusion phrase. This conclusion is heard twice consecutively - the first including vocals, the second featuring the same phrase but with Harrison's guitar replacing Lennon's singing.

     (A'') Concluding Verse 4      1:46-2:18
          (b) statement (4)
          (b') revision (5)
          (e) conclusion (2)
          (e) conclusion (2)

It's clearly a simple form, with only verse (no bridges, choruses, pre-choruses, solos, or breaks) constituting the entire song body. But within that simple structure, the micro-scale phrase structure is varied and sophisticated, providing the contrast necessary to avoid monotony, and defining the song structure as "(not so) simple".
​

*   *   *   *   *   *   *   *   *

Much like 'If I Fell', 'Tell Me What You See' is also an A x4 simple structure. It, too, features an expository initial verse (0:04-0:32) followed by a second verse (0:32-1:14) that repeats but then extends the phrases of the first. The third verse (1:14-1:56) is identical to the second. And the fourth verse (1:56-2:38) concludes the song.
​

*   *   *   *   *   *   *   *   *

What makes 'In My Life' "(not so) simple" is the departure section of the verses. Each of the three verses (counting the solo as the third) uses the same departure, which can be broken down into three sub-phrases: First a new two-measure statement, then a two-measure departure, and finally a two-measure revision of the statement. 

     (A) Verse 1+ Refrain      0:09-0:51
          (a) statement (4)
          (a) restatement (4)
          departure
               (b) statement (2)
               (c) departure (2)
               (b') revision (2)
          (d) Refrain: conclusion (2)
          tag (2)

     (A') Verse 2 + Refrain      0:51-1:28
          (a) statement (4)
          (a) restatement (4)
          departure
               (b) statement (2)
               (c) departure (2)
               (b') revision (2)
          (d) Refrain: conclusion (2)

     (A) Solo + Refrain      1:28-2:10
          (a) statement (4)
          (a) restatement (4)
          departure
               (b) statement (2)
               (c) departure (2)
               (b') revision (2)
          (d) Refrain: conclusion (2)
          tag (2)

While a great many Beatles songs employ departure phrases, no other original song uses such a developed departure. ('Baby It's You', as we've seen, does, but that's a cover; and 'Doctor Robert', 'The Ballad of John and Yoko', and 'Mean Mr. Mustard' come close but don't reach the same degree of sophistication). This substantial departure is unsurprising in a simple structure because the departure by definition contrasts the other sections. The elaboration of this departure phrase, then, makes perfect sense in a simple structure.

Lastly, notice the tags. Though present in verses 1 and 3, it's absent from verse 2. This subtle change, combined with the substantial 3-part sub-phrase structure of the departure, qualifies 'In My Life' as "(not so) simple".
​

*   *   *   *   *   *   *   *   *

'The Fool On The Hill' is the only Beatles song to employ its "(not so) simple" structure for narrative purposes. The lyrics are about the notion of an idiot/savant, someone who could be either brilliant or just plain stupid. Many dismiss him as the latter: "They can see that he's just a fool." But the man in question disregards their disbelief: "He never listens to them. He knows that they're the fool."

Reflecting this brilliant/stupid dichotomy, the structure of 'Fool On The Hill' is "(not so) simple". Like 'In My Life', the departure phrase of each verse can be broken down into sub-phrases. This, however, is not as developed as that on 'In My Life'. Rather, 'Fool' develops the refrain, which consists of 5 single-measure sub-phrases: First an intro ("But the fool on the hill"), then a new statement ("sees the sun going down"). That statement is revised twice in ascending sequences ("and the eyes in his head", "see the world spinning round") before transitioning (instrumental).

     (A) Verse 1 + Refrain 0:04-0:44
          (a) statement (2)
          (a') revision (2)
          departure
               (b) statement (2)
               (b') revision (1)
          Refrain (5)
               (c) introduction (1)
               (d) statement (1)
               (d') revision* (1)
               (d'') revision* (1)
               (a'') transition (1)

Each subsequent verses maintains this same phrase and sub-phrase structure, though solos replace Paul's vocals in the first 8 measures of the last three iterations:

     (A) Verse 2 + Refrain      0:44-1:24
     (A') Solo 1/Verse + Refrain      1:24-2:03
     (A') Solo 2/Verse + Refrain      2:03-2:43
     (A') Concluding Solo (fade)      2:43-2:59

'The Fool On The Hill' is clearly a simple structure, but the refrain is more developed than any other Beatles song. This qualifies 'Fool' as "(not so) simple" in structure.
​

*   *   *   *   *   *   *   *   *

'Everybody's Got Something to Hide Except for Me and My Monkey' is a bit simpler in its phrase structures. The first verse is clearly the model for the second and third, but the later two are slightly longer (14 measures as compared to 12 measures, excluding the tag).

     (A) Verse 1 + Refrain      0:08-0:40
          (a) statement (2 measures) x3
          (b) departure (2 measures) x2
          (c) Refrain: conclusion (2 measures)
          tag (7 beats) x2

     (A') Verse 2 + Refrain      0:40-1:20
          (a) statement (2 measures) x2
          (a) transition (2 measures)
          (a) restatement (2 measures) x2
          (b) departure (2 measures) x2
          (c) Refrain: conclusion (2 measures)
          tag (7 beats) x2

     (A') Verse 3 + Refrain      1:20-1:59

*   *   *   *   *   *   *   *   *

The most sophisticated "(not so) simple" Beatles song might be 'Yer Blues'. The song is also a deceptive AABA. At first it appears to be a textbook AABA, but a closer look shows the bridges are actually the beginning of verses.

     (A) Verse 1      0:00-0:32
          (a) statement (1 measure)
          (a) restatement (1 measure)
          (a') revision (1 measure)
          (a) restatement (1 measure)
          (b) departure (14 e)
          (c) conclusion (1 measure)

     (A) Verse 2      0:32-1:01

     (B) Bridge 1      1:01-1:11
          (d) statement (1 measure)
          (d) restatement (1 measure)
          (d') revision (1 measure)
          (e) turnaround (1 verse measure)

     (A') Verse 3      1:11-1:30
          (a') revision (1 measure)
          (a) restatement (1 measure)
          (b) departure (14 e)
          (c) conclusion (1 measure)

     (B) Bridge 2      1:30-1:40

     (A') Verse 4      1:40-2:00

     (B) Bridge 3      2:00-2:09

     (A'') Verse 5      2:09-2:27
          (a') revision (2 measures)
          (a) restatement (2 measures)
          (b') departure (2 measures)
          (c) conclusion (2 measure)

     (A'') Solo 1 (12)      2:27-2:54

     (A''') Solo 2 (11)      2:54-3:18

     (A) Verse 6      3:18-3:46

     (A) Verse 7 (fade)      3:46-3:59

The structure, then, is simple: 9 iterations of the 12 bar blues:
     1 = 0:00-0:32
     2 = 0:32-1:01
     3 = 1:01-1:30
     4 = 1:30-2:00
     5 = 2:00-2:27
     6 = 2:27-2:54
     7 = 2:54-3:18
     8 = 3:18-3:46
     9 = 3:46-3:59

The relationship between those iterations is obfuscated by tempo and meter changes. But underlying all of that surface-level differentiation, it's fundamentally the same.

*   *   *   *   *   *   *   *   *

Lastly, the "(not so) simple" structure of 'Come Together' is the result of 2 factors:

(1) each verse is supplemented by a repeat of the introduction. Sometimes this intro is 4-measures long, other times it's just 2. This could make it a "compound simple" structure, except that...

(2) the phrase structure of the verses (including the solo as a verse since it replaces a verse) are constantly changing. The 8-measure verse 1 lacks the 2-measure refrain, whereas the 10-measure verses 2, 3, and 4 all include it. Additionally, the solo, like verse 1, is 8 measures in duration, but its phrase structure is different. Both the solo and verse 1 open with 4 single-measure statements (a) followed by a 2-measure revision (a'). But where verse 1 concludes with a (b) departure, the solo repeats the (a') revision.

     Introduction      0:00-0:12
          tag (1) x4

     (A) Verse 1      0:12-0:36
          (a) statement (1) x4
          (a') revision (2)
          (b) departure (2)

     Introduction      0:36-0:47
          tag (1) x4

     (A') Verse 2 + Refrain      0:47-1:16
          (a) statement (1) x4
          (a') revision (2)
          (b) departure (2)
          (c) Refrain: conclusion (2)

     Introduction      1:16-1:28
          tag (1) x4

     (A') Verse 3 + Refrain      1:28-1:57

     Introduction      1:57-2:03
          tag (1) x2

     (A'') Solo (8)      2:03-2:26
          (a) statement (1) x4
          (a') revision (2) x2

     Introduction      2:26-2:31
          tag (1) x2

     (A') Verse 4 + Refrain      2:31-3:01

     Introduction      3:01-3:12
          tag (1) x4

     Coda      3:12-4:20

These subtle discrepancies qualify 'Come Together' as "(not so) simple".
​

---

Abbey Road on the River concludes tomorrow:
​
Sunday, 29 May 2016, 12:30-1:30 p.m.
Abbey Road on the River: Muhammad Ali Center, 144 N 6th St, Louisville, KY
The Beatles & The Rolling Stones
Ask anybody to name two English rock bands from the 1960s and the response will likely be The Beatles and The Rolling Stones. But despite often being portrayed as rivals in the media, the two groups were actually quite friendly towards each other, both socially and musically. This 60-minute presentation will compare and contrast the two through musical examples and interviews with the band members to illustrate the relationship between The Beatles & The Rolling Stones.