![]() The second harmonic surprise is the augmented triad in the second measure of the third phrase. (And at risk of appearing to lack personal humility, the previous observation freaks me out when I make it, and I'll eat my hat if you can show me that someone else has beaten me to it :-)) The resulting root movement of a "tritone" between G# and D is not only very rare in pop music, but (another coincidence) is something in the Beatles' canon that shows up as peculiar to John's music take a look at both " It's Only Love" and " I Am The Walrus" the former, bearing a very close comparison with out current example. Boston: Twayne, 1983") analyze the first phrase as identical to the second, but without recourse to any written scores, I'm relying completely on my ears to tell you that the first phrase uses a cliché-busting G#-Major chord not only delicious per se, but also for the way in which it prevents foolish consistency between the two phrases. O'Grady's " The Beatles: A Musical Evolution. The first harmonic surprise appears in the second measure. The harmonic shape is quite open, with all three verses starting on I but ending on either V or IV: The verse has a blues-like twelve-bar form with an AAB phrasing pattern. The descending hook (played on, is it an organ, lead guitar, or both?) heard in the final two measures of the verses that directly precede a refrain is another one of those supporting signature details that make an indelible impression. The lead vocal features a couple of monotony-breaking variations on the tune for the second verse and refrain, taking it up into a suddenly higher range. The finished mix, with its many drop-ins and overdubs, is thick and somewhat bottom heavy. Note, however, that John throws two very un-cliché chords into the verse. The harmony of the verse is largely built on the old R&R cliché progression of I -» vi -» IV -» V while the refrain features the old bluesy in-out/in-out of I -» IV -» V. The tune is replete with non-harmonic tones that create an overall dissonant feeling that is equally roughshod and pathetique. The key shift between the two songs of a subtle half-step upward bears an uncanny (and also "coincidental") parallel with the half-step downward shift displayed by the transition of " Eleanor Rigby" to " I'm Only Sleeping" even the specific keys involved are the same! Chalk it to being either "no coincidence" or a very happy one, at the very least. That ascending bassline pickup which opens the track turns out to be a mirror image of the bassline riff which ended the previous song. One of the song's real charms is the manner in which the quietly ascending bassline leads into the third verse as though "nothing" had happened in the previous, ranting refrain section. The increased intensity of the refrain compared to the verse creates an impression of a parallel increase in the tempo, but it's only an illusion. We also find here a substance-amplified unsteadiness (implied in both the lyrics, and more subtly in the moderato fox-trot back-beat) that curiously reminds me of the "tipsy" beat you find in some of Ravel's "Valses Nobles et Sentimentales". This song is quite a vivid musical evocation of some unhappy inner state, alternating by fits and starts between enervated and unnerved. US-release: 25th November 1968 (LP "White Album") UK-release: 22nd November 1968 (LP "White Album") It does not store any personal data.| Verse | Refrain | Outro (with complete ending)ĬD: "White Album", Disc 1, Track 10 (Parlophone CDS7 46443-8) ![]() The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. ![]() The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". ![]() These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly.
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