I'm pleased to announce the publication of my next book, Days in the Life: A Father and Son on a Beatles Tour, set for late July 2016. Here's the front cover: And here's a PDF of the single-page foreword that establishes the idea behind the book:
In the meantime, tomorrow will
Thursday, 23 June 2016, 6:00-7:00 p.m. Eckhart Public Library, 603 S Jackson St, Auburn, IN The Beatles: Band of the Sixties Explore the music of The Beatles in this 60-minute multimedia presentation (part history and part musical analysis) spanning the full 1960's: beginning with the band's seminal visits to Hamburg, continuing through Beatlemania, and concluding with Abbey Road. The program will be supplemented with audio clips of music and excerpts from interviews with the band members.
0 Comments
Today, being the 20th day of the month, is the day I send out my newsletter. Inspired by popular interest, I began this free monthly email newsletter in March 2014, when I sent that initial issue to six people. Little by little it's grown to the point where this morning's newsletter (July 2016) was sent to 736 recipients. Each newsletter details my schedule for the remainder of the current month through the end of the next month - which programs I'm giving, where, and when. Anybody with a valid email address may register for the newsletter on my website: http://www.aaronkrerowicz.com/newsletter-sign-up.html. Just be sure to type the “prove you are human” part. (I get a lot of spam, so any submissions that skip that step are deleted.) Newsletter subscription is the best way to stay in touch. The emails are automatically sent from my personal Gmail account, which allows recipients to respond easily and efficiently. This permits me to maintain a monthly dialog with Beatles fans across the globe. Plus, they feature adorable puppy pictures. In honor of my new pooch, Abbey (as in Road), I started including a photo of her in each newsletter beginning in 2016. Here's July's: That's my Abbey (as in Road) on the left, with a friend's dog, Pepper (as in Sgt.) on the right. Tomorrow I take a break from Beatles to present on another favorite "B": Baseball.
Tuesday, 21 June 2016, 6:30-7:30 p.m. Monticello Union-Township Public Library, 321 West Broadway St, Monticello, IN Baseball Before the Civil War Although legend cites Abner Doubleday as "The Father of Baseball", historical evidence clearly indicates otherwise. This 60-minute multimedia presentation will observe and discuss the origins and early development of America's national pastime. In preparation for Ringo Starr's performance in Fort Wayne, IN on June 21, the Kendallville Public Library (just north of Fort Wayne) has booked my presentation celebrating Ringo and his contributions to The Beatles.
Friday, 17 June 2016, 6:30-7:30 p.m. Kendallville Public Library, 221 South Park Ave, Kendallville, IN Starr Time: A Celebration of Ringo Starr's Contributions to The Beatles Contrary to popular belief, Ringo Starr was an integral component of the Beatles. This 60-minute program will explain how and why Ringo replaced the band's previous percussionist, Pete Best, and analyze and celebrate Ringo's contributions to the Beatles (including his singing, drumming, and personality) through musical examples and excerpts from interviews with the band members. June 16: "A Four-Headed Monster: The 4 Beatles in 5 Songs" at the Allen County Public Library6/15/2016 It's been almost a year since my last program debut ("Starr Time: A Celebration of Ringo Starr's Contributions to The Beatles" at the Polk County Library in Bolivar, MO on 30 June 2015), but tomorrow will be the next debut. For some time I've been toying with the notion of a presentation observing and discussing each of the four Beatles through analysis of a single song. 'Yesterday' is perhaps the most obvious choice for Paul McCartney, as is 'Strawberry Fields Forever' for John Lennon. But I couldn't decide which would represent George Harrison best. My personal opinion is that 'While My Guitar Gently Weeps' is Harrison's first fully mature song, however many people disagree with that assessment. But I've never heard anybody seriously criticize 'Something' and 'Here Comes The Sun'. The former was Harrison's first A-side single; the latter is the most-streamed Beatles song on Spotify. And given that they represent different aspects of Harrison's songwriting sophistication ('Something' in terms of pitch, 'Sun' in terms of rhythm), I included both. Thus the subtitle "The 4 Beatles in 5 Songs". But I really should call it "The 5 Beatles in 5 Songs", since their producer George Martin was instrumental (literally and figuratively) in the band's success in general and in these five tracks specifically. With that in mind, I was going to quote Paul McCartney's comments after Martin's death last March: But then yesterday I was browsing the shelves at Half Price Books and found the book Paul by Tony Scherman and the Editors of LIFE. Flipping through the pages my eyes stumbled upon a quote from Paul on page 47 regarding their manager, Brian Epstein: "If anyone was the Fifth Beatle, it was Brian." Occasionally people are puzzled (sometimes even offended) when I say Paul McCartney quotes cannot always be trusted. He is, as I've frequently worded it, "notorious for re-writing history", meaning things Paul has said have turned out to be inaccurate. This isn't necessarily a conscious lie. George Martin, in the foreword of his book With A Little Help From My Friends, describes memory as "that most unreliable of servants". And it's likely that some of Paul's discrepancies are merely the result of faulty recollections. On the other hand, Paul also seems to take credit for things that are almost undoubtedly not his doing. In an interview with Q magazine published in the periodical's May 2013 issue (p. 80-81), Paul claimed, "One song I wrote a little after Please Please Me was my best attempt at a preamble: 'If I Fell'." But it's highly unlikely that Paul either wrote the song proper or the introduction. In the Playboy interview just before his death, Lennon called the song "my first attempt at a ballad proper." Furthermore, Lennon's home recordings from an unknown date in February 1964 prove that the intro was in tact before entering the studio. Of course that doesn't prove that McCartney didn't write the song (it's possible Paul wrote it and John recorded it) but it seems improbable in the extreme. Given Paul's questionable memory and the self-contradictory nature of his quotes above, I omitted the "George Martin was the fifth Beatle" quote from my presentation, even though I keep the concept as my conclusion. This newest presentation (I just completed the slideshow yesterday) will debut tomorrow evening in Fort Wayne, Indiana:
Thursday, 16 June 2016, 6:00-7:00 p.m. Allen County Public Library, 900 Library Plaza, Fort Wayne, IN A Four-Headed Monster: The 4 Beatles in 5 Songs If you had to pick songs which represent each of the four Beatles, which would you chose? This 60-minute multimedia presentation observes and analyzes each band member through the lens of one or two songs: For Paul McCartney, “Yesterday”; for Ringo Starr, “In My Life”; for John Lennon, “Strawberry Fields Forever”, and for George Harrison, “Something” and “Here Comes the Sun”. If 6 July 1957 (the day John Lennon and Paul McCartney met) is the first day of Beatles history, and if 10 April 1970 (the day McCartney announced The Beatles' break-up) is the last day of Beatles history, then that history lasted precisely 4,661 days.
Americans tend to think of their debut on The Ed Sullivan Show on 9 February 1964 as the start of the band, which makes sense because that's the defining moment for Beatlemania in America. But by that date, Beatles history was more than half over: 6 July 1957 to 9 February 1964 = 2,409 days (52%) 9 February 1964 to 10 April 1970 = 2,252 days (48%) Saturday's presentation at the Frankfort Community Library will examine the origins and development of the band for the first half of their career, leading up to that all-important Ed Sullivan debut: Saturday, 11 June 2016, 2:00-3:30 p.m. Frankfort Community Public Library, 208 W Clinton St, Frankfort, IN Before They Were Fab: The Beatles Prior to Beatlemania Before the number one records and the deafening screams, before Ed Sullivan and “She loves you, yeah, yeah, yeah”, before the shaggy “mop top” haircuts and collarless suits, there were six future Beatles. This 90-minute multimedia presentation will trace the early history of The Beatles from John Lennon's founding of The Quarrymen in 1957, through their five seminal Hamburg residencies, and right up to the precipice of worldwide fame and fortune. Abbey Road on the River concluded yesterday (actually today, but for me it ended yesterday). And I'm already looking forward to next year :-) I typically allow myself one gratuitous (not research-related) purchase per trip, such as the mini Hofner bass I bought in Liverpool in July. This time it was a vinyl cut out from artist Damon Vincent, owner of City Minis. He devised a way to cut vinyl albums into shapes, some of which are quite elaborate. His online gallery (www.cityminis.com) shows the full breadth of his work. I naturally gravitated towards The Beatles section, and bought one based on A Hard Day's Night. Now I just have to find the wall space to hang it! My spring 2016 tours conclude tomorrow at the Hillview Library in Kentucky:
Tuesday, 31 May 2016, 6:00-7:00 p.m. Hillview Library, 155 Terry Blvd, Hillview, 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. It'll be my 77th speaking engagement since 8 February, 82nd so far of 2016, and 348th of my career (248th specifically about The Beatles). So what next? June, July, and August will be gentle: just 14 speaking engagements in 6 states (Wisconsin, Illinois, Pennsylvania, New Jersey, and New York). But things get crazy again in the fall. I'm going to Kansas City in September, New England in October, Wisconsin/Illinois in November. In addition, I'm on pace to release my next book, Days in the Life (my and my father's journals from our March tour out to Arizona) in August. And I hope to publish BEATLESTUDY Volume I: Structural Analysis of Beatles Music in December (but that might be optimistic). Regardless, the summer will be busy, if not in terms of travel. 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:
* * * * * * * * * 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. SIMPLE SONG STRUCTURES, PART 1 OF 2 The simplest formal design for a piece of music is to have every section in the song is the same (A). This is appropriately designated a "simple" structure. 'If I Fell' is a good example: Intro 0:00-0:19 (A) Verse 1 0:19-0:40 (A) Verse 2 0:40-1:13 (A) Verse 3 1:13-1:46 (A) Verse 4 1:46-2:18 Notice that the entire song consists of four iterations of the A section (excluding the intro, which is be definition supplemental to the song's form). The alphabetic label is therefore "AAAA", or "A x4". The Beatles use this simple structure relatively frequently, however the number of iterations of that single A section is highly variable (anywhere from 2 to 9 times). x2, one song: 'Mean Mr. Mustard' x3, six songs: 'Baby It's You' 'In My Life' 'Flying' 'Everybody's Got Something to Hide Except for My and My Monkey' 'Why Don't We Do It In The Road?' 'Polythene Pam' x4, seven songs: 'Twist and Shout' 'Devil in Her Heart' 'If I Fell' 'Mr. Moonlight' 'Tell Me What You See' 'Bad Boy' 'Paperback Writer' x5, four songs: 'Slow Down' 'The Fool on the Hill' 'Get Back' 'Come Together' x6, two songs: 'Matchbox' 'For You Blue' x7, two songs: 'Money (That's What I Want)' 'Words of Love' x8, three songs: 'Everybody's Trying to be My Baby' 'Dizzy Miss Lizzy' 'Tomorrow Never Knows' x9, two songs: 'Rocky Raccoon' 'Yer Blues' Careful readers might notice that there are actually a couple others that could fit into the "simple structure" category. 'Maggie Mae' is an A x2, 'Her Majesty' is an A x1, 'Dig It' could be interpreted any number of ways (all of which would have to be simple), and 'Sgt. Pepper's Lonely Hearts Club Band (Reprise)' could be interpreted as A x2. All of these, however, fit better into the structural label of "fragment" because they are incomplete songs. A case could be made that 'Mean Mr. Mustard' should also fit into the "fragment" category rather than "simple", but I chose otherwise because 'Mustard', though short, offers two complete iterations of its (A) section, whereas these others offer only parts. In a simple structure, there is no contrast at the macro-level because simple structures by definition use the same macro-level sections on each iteration. The challenge of using simple structures, then, is the threat of monotony. If the music carries on without ever changing, boredom sets in. Composers must find ways to vary the music within that simple framework to maintain interest. One solution is to use a solo. Even if the music is fundamentally the same, the performance of that music on an instrument (as opposed to sung) can provide the contrast necessary to sustain listeners' attention. 12 Beatles songs use this technique (interestingly, the first 7 of them are covers):
Similarly, two songs use breaks for the same purpose (breaks, like solos, are instrumental - a "break" for the singers - but do not highlight a single instrument):
Many simple songs use refrains for contrast. While verses typically use different lyrics but the same music on each iteration, refrains by definition use the same lyrics and same music. In that sense, they are quite similar to choruses. The biggest distinguishing factor between choruses and refrains is that choruses are independent from other sections, while refrains are dependent on other section(s) - usually but not always the verses. 14 Beatles songs use this concept (several of which, you'll notice, also use solos, as described above):
Another tactic is to reprise the introduction in the body of the song. Intros and outros are by definition supplemental to the form, but they can be used to parse out the macro-scale sections of songs, especially in simple structures. 4 Beatles songs do this:
Abbey Road on the River continues tomorrow:
Saturday, 28 May 2016, 11:00 a.m. - 12:15 p.m. Abbey Road on the River: Muhammad Ali Center, 144 N 6th St, Louisville, KY Carte Blanche: The Beatles' White Abum The Beatles' only double-album, The Beatles (a.k.a. The White Album) is the band's most individualized and stylistically diverse work, and the antithesis of Sgt. Pepper's Lonely Hearts Club Band. This 90-minute multimedia presentation will observe and analyze The White Album by putting it in musical and historical context. Topics and people discussed will include Eric Clapton, the Maharishi Mahesh Yogi and his camp in Rishikesh, India, the influence of Yoko Ono, and the beginning of the end for the Beatles. May 27: "The Influence of American Rock 'n' Roll on The Beatles" at Abbey Road on the River5/26/2016 Yesterday I gave an interview with Lanea Stagg on her Recipe Records Radio Show promoting Abbey Road on the River this weekend. The show may be heard here: http://www.blogtalkradio.com/recipe-records-cookbook/2016/05/25/all-you-need-is-the-beatles The Festival begins tonight, and I make my AROTR debut tomorrow afternoon:
Friday, 27 May 2016, 3:30-4:45 p.m. Abbey Road on the River: Muhammad Ali Center, 144 N 6th St, Louisville, KY 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 Many Beatles songs are based on an AABA design. AABA refers to a structural pattern in which the first verse is heard (A), followed by the second verse (A), a contrasting bridge (B), and finally a third verse (A). 'Please Please Me' is a textbook example: Introduction 0:00-0:07 (A) Verse 1 0:07-0:35 (A) Verse 2 0:35-1:02 (B) Bridge 1:02-1:19 (A) Verse 3 1:19-1:50 Coda 1:50-1:57 Several other tracks also employ a textbook AABA (no more, no less) structure:
And a handful of others employ a compound AABA structure (no more, no less), in which a verse + chorus combine to create the compound A sections, with a B section bridge for contrast:
The majority of AABA Beatles songs, however, would be too short with only a literal AABA form. They therefore supplement that base with additional iterations of A and/or B sections. Perhaps the most obvious reprise is a "full reprise", in which the entire AABA structure is repeated. But full reprises are rather rare, being found in only three tracks:
Much more common are partial reprises. By far the most frequent of the "AABA with partial reprise" structures is the extension -BA (making the final form AABA|BA). This is found in:
Similarly, two songs implement this -BA extension, but also add a C section solo in between the base AABA and its -BA partial reprise (making the final form AABA|C|BA):
One employs that -BA extension twice (making the final form AABA|BA|BA):
Two songs use an -AA extension (making the final form AABA|AA):
Uniquely, the solo and reprise of the intro on 'I Feel Fine' (1:07-1:25) function as an interlude (not as part of the formal structure), interspersing the base AABA with its -ABA partial reprise (making the final form AABA|I|ABA, with the "I" standing for "interlude"). The vast majority of these songs conclude with an A verse, but a couple conclude with the B bridges.
* * * * * * * * * There is a particular AABA structure half way in between "AABA with full reprise" and "AABA with partial reprise". When the overall form is AABAABA, the third A section (underlined) doubles as both the end of the initial AABA, and as the start of a full AABA reprise, in what's known as an "AABA with elided reprise". 'From Me To You' is a perfect example: Intro 0:00-0:07 (A) Verse 1 0:07-0:21 (A) Verse 2 0:21-0:35 (B) Bridge 1 0:35-0:49 (A) Verse 3 0:49-1:03 (A) Solo 1:03-1:17 (B) Bridge 2 1:17-1:31 (A) Verse 4 1:31-1:56 Another 13 Beatles songs employ this AABAABA or "AABA with elided reprise" structure:
And 2 more expand upon it:
* * * * * * * * * Another AABA subset is the "broken AABA", in which A and/or B sections are reprized at the end, but in no discernible pattern. At its simplest, the "broken AABA" uses just one section after the AABA base. This is, more often than not, an A section (making the total form AABA|A) as in:
But it can also be a B section (making the total form AABA|B) as in:
Then there are "broken AABA" structures which are longer than a single section extension. Both 'And Your Bird Can Sing' and 'Blackbird' feature -BAA extensions (making the total form a palindromic AABA|BAA). Uniquely, the extension on 'Only A Norther Song' is -BAB (making the total form AABA|BAB). Two songs, 'Roll Over Beethoven' and 'The Ballad of John and Yoko', both add an anticipation (in both songs, an extra A which come before the AABA base) in addition to the extensions (which come after).
Lastly, while "compound AABA" and "broken AABA" are both reasonably common, the combination of them ("compound broken AABA") is found only in 'With A Little Help From My Friends': Intro 0:00-0:09 (A) Verse 1 0:09-0:26 (B) Chorus 1 0:26-0:43 (A) Verse 2 0:43-1:00 (B) Chorus 2 1:00-1:13 (C) Bridge 1 1:13-1:30 (A) Verse 3 1:30-1:48 (B) Chorus 3 1:48-2:00 (C) Bridge 2 2:00-2:17 (B) Chorus 4 2:17-2:44 The (A) verses and (B) choruses combine to create the compound A section. The (C) bridges, then, constitute the compound B section. This is nothing terribly unusual, as seven other Beatles songs ('Magical Mystery Tour' and 'Ob-la-di Ob-la-da' being the most famous) also employ this compound AABA technique. 'Friends' then offers a partial reprise. Again, this is nothing out of the ordinary. 'You're Going to Lose that Girl', 'Wait', and 'Ob-la-di Ob-la-da' are all "compound AABA with partial reprise" structures: [AB] [AB] C [AB] | C [AB]. These are very nearly identical to 'With a Little Help From My Friends', except that 'Friends' omits the last A, making the final form [AB] [AB] C [AB] | C B. And that is what makes the song structurally unique: Its partial reprise is of the bridge and chorus, but it omits the verse. The partial reprise is thus "broken". It's relatively common for songs to "tighten up" their endings as a way to propel the music to its conclusion. 'Lucy in the Sky With Diamonds', for example, omits the pre-chorus in the third and final compound section for precisely this reason. 'Cry Baby Cry' elides choruses at its end for the same reason. All of the individual structural techniques implemented in 'With a Little Help From My Friends' can be found in other Beatles songs, but no other incorporates all of them within the same song. The Wisconsin component of my spring 2016 tours concludes tomorrow with one final rendition of "Band of the Sixties":
Tuesday, 24 May 2016, 6:00-7:00 p.m. Watertown Public Library, 100 S Water St, Watertown, WI The Beatles: Band of the Sixties Explore the music of The Beatles in this 60-minute multimedia presentation (part history and part musical analysis) spanning the full 1960's: beginning with the band's seminal visits to Hamburg, continuing through Beatlemania, and concluding with Abbey Road. The program will be supplemented with audio clips of music and excerpts from interviews with the band members. |
Beatles BlogThis blog is a workshop for developing my analyses of The Beatles' music. Categories
All
Archives
May 2019
|