Formal structure in [44b] "Kansas City/Hey Hey Hey Hey"
Intro (ind) 0:00-0:08 Verse 1 0:08-0:29 Verse 2 0:29-0:51 Solo 0:51-1:13 Chorus #1 1:13-1:35 Chorus #1 1:35-1:57 Chorus #2 1:57-2:19 Chorus #2/Coda 2:19-2:37* Comments: This one is unique in that it combines two completely different songs: "Kansas City", written by Jerry Leiber and Mike Stoller in 1952; and "Hey Hey Hey Hey" written by Richard Penniman (a.k.a. Little Richard), who liked to combine it with the Leiber/Stoller song in live performances to create a medley. The Beatles, who heard "Kansas City/Hey Hey Hey Hey" on the B side of Little Richard's single "Good Golly Miss Molly" (released 1958), adopted the medley for their own by 1962, dropped it from their set list in 1963, and then revived the song in preparation for a performance in Kansas City on September 17, 1964. Perhaps out of need for additional songs rather than artistic merit, the medley was recorded and added to the album Beatles for Sale, released 1964. Point is that from a structural point of view, it's rather difficult to analyze precisely because it's actually two songs stuck together. Though it's clearly open to debate, for the sake of simplicity I have analyzed the "Hey Hey Hey Hey" section as two choruses (they share nearly identical chord progressions and durations - it's only the lyrics that differ) each with a repeat. The very last section fades to nothing, making it both an iteration of the second chorus and a coda.
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Formal structure of [44] "She's a Woman"
Intro (verse) 0:00-0:11 Verse 1 0:11-0:43 Verse 2 0:43-1:15 Chorus 1:15-1:21 Verse 3 1:21-1:53 Solo 1:53-2:10 Chorus 2:10-2:15 Verse 4 2:15-2:47 Coda (verse, coda) 2:47-3:02* Comments: Coda features backing music of verse, with the title lyrics sung to new music. Formal structure of [43] "Eight Days a Week"
Intro (ind, coda) 0:00-0:07* Verse 1 0:07-0:35* Verse 2 0:35-1:02 Middle 8 1:02-1:16 Verse 3 1:16-1:44 Middle 8 1:44-1:58 Verse 4 1:58-2:25 Coda (verse, intro) 2:25-2:42* Comments: First song (not just first Beatles song) to feature a fade-in intro. Another four-part verse structure in which the third part contrasts the other three parts (just like [31] "A Hard Day's Night", [35] "Things We Said Today", [40] "I Don't Want to Spoil the Party", and [42] "No Reply"): Ooo I need your love babe, guess you know it's true Hope you need my love babe, just like I need you Hold me, love me, hold me, love me I ain't got nothing but love babe, eight days a week. Verses 1 and 3 share identical lyrics, as do verse 2 and 4. Interestingly, vocal harmony is added in this contrasting third verse subsection, but only on verses 2 and 4 - not on verses 1 and 3. 2-part coda: first part based on repetition of the title lyrics (which comes from the end of the verse); second part similar to the introduction but independent from the rest of the song. Formal structure of [42] "No Reply"
Verse 1 0:00-0:33 Verse 2 0:33-1:03 Middle 8 1:03-1:34 Verse 3 1:34-2:05 Coda 2:05-2:15 Comments: Similar to [31] "A Hard Day's Night", [35] "Things We Said Today", [40] "I Don't Want to Spoil the Party", the verse structure of "No Reply" can be divided into four parts: This happened once before, when I came to your door, no reply. They said it wasn't you, but I saw you peep through your window. I saw the light, I saw the light. I know that you saw me, 'cause I looked up to see your face. The first, second, and fourth of these subsections are essentially musically identical (the same chords, same character, roughly the same melody), but the third part is different (different chords, different character, very different melody, plus the addition of vocal harmonies and huge cymbal hits both noticeably absent from the other three subsections). No intro. Coda is the only time you hear the title lyrics, and is musically (but not lyrically) based on the third part of the verse. Formal structure of [41] "What You're Doing"
Intro (ind., verse) 0:00-0:14* Verse 1 0:14-0:31 Verse 2 0:31-0:46 Middle 8 0:46-1:01 Verse 3 1:01-1:18 Solo 1:18-1:32 Middle 8 1:32-1:48 Verse 4 1:48-2:00 Coda (verse) 2:00-2:30* Comments: Another two-part introduction. The first part of this intro is the closest thing to a drum solo on a Beatles track until [180] "The End" from Abbey Road. This drum pattern is not featured anywhere else in the song except for the coda. The coda is more developed than most, incorporating an extension of the fourth verse with two additional iterations of the lyrics "what you're doing to me" (2:00-2:08), the guitar lick from the intro and verse (2:08-2:12), a reprise of the drum break from intro (2:12-2:19), and finally the same guitar lick with backing from verse which fades out (2:19-2:30). Formal structure of [40] "I Don't Want To Spoil the Party"
Intro (ind) 0:00-0:10* Verse 1 0:10-0:30* Verse 2 0:30-0:50 Middle 8 0:50-1:05 Verse 3 1:05-1:25 Solo 1:25-1:45 Middle 8 1:45-2:00 Verse 4 2:00-2:20 Coda (ind) 2:20-2:33* Comments: Similar to [31] "A Hard Days Night", the third quarter of verse is a little bit different from the other three quarters. Unlike "A Hard Day's Night", however, in this case it is that third quarter that lacks (rather than adds) vocal harmony. Furthermore, the rhyme scheme of the lyrics parallels this structure since the first, second, and fourth lines all end with rhymes ("go", "show", "know"), but the third quarter rhymes within itself ("here", "disappear"). These patterns are repeated in each iteration of the verses, although verses 1 and 3 share identical lyrics, as do verses 2 and 4. Verse 1 (and 3) lyrics, divided into quarters: I don't want to spoil the party so I'll go, I would hate my disappointment to show, There's nothing for me here, so I will disappear, If she turns up while I'm gone please let me know. Lastly, the intro and coda clearly related, although not identical. These two sections are similar to the solo, but not identical. The solo section uses the chord progression of verse. Formal structure of [39] "Every Little Thing"
Intro (verse) 0:00-0:03 Verse 1 0:03-0:27 Chorus 0:27-0:42 Verse 2 0:42-1:06 Chorus 1:06-1:23 Solo 1:23-1:33 Chorus 1:33-1:49 Coda (verse) 1:49-2:03 Comments: Each verse consists of two musically (but not lyrically) identical subphrases, both of which can be further broken down into three division. Each of these divisions lasts two measures, making each subphrase 6 measures long, and each verse 12 measures. Verse 1 Subphrase 1 Subphrase 2 When I'm walking beside her I remember the first time People tell me I'm lucky. I was lonely without her. Yes, I know I'm a lucky guy. Can't stop thinking about her now. Verse 2 Subphrase 1 Subphrase 2 When I'm with her I'm happy There is one thing I'm sure of, Just to know that she loves me. I will love her forever. Yes, I know that she loves me now. For I know love will never die. Also, in typical fashion, the solo section replaces Verse 3. Formal structure of [38b] "Mr. Moonlight"
Intro (ind., verse) 0:00-0:09* Verse 1 0:09-0:39 Chorus 0:39-0:54 Verse 2 0:54-1:10 Chorus 1:10-1:25 Solo 1:25-1:40 Chorus 1:40-1:56 Verse 3 1:56-2:11 Chorus 2:11-2:23 Coda 2:23-2:39 Comments: Another two-part intro like [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [31b] "Matchbox", and [37] "Baby's in Black". Formal structure in [38] "I'm a Loser"
Intro (chorus) 0:00-0:11 Verse 1 0:11-0:32 Chorus 0:32-0:42 Verse 2 0:42-1:04 Chorus 1:04-1:15 Solo 1 1:15-1:26 Solo 2 1:26-1:36 Verse 3 1:36-1:58 Chorus 1:58-2:08 Coda (solos) 2:08-2:28 Comments: "I'm a Loser" uses two different solo sections. (The only other Beatles song to date that features two solo sections is [29b] "Long Tall Sally".) The first is a harmonica solo, the second a guitar solo; the first using the chord progression of the verse, the second using the chord progression of the chorus. These solos are reprized in the coda, which fades out. Formal structure of [37] "Baby's in Black"
Intro (chorus) 0:00-0:04* Chorus 0:04-0:14 Verse 1 0:14-0:26 Chorus 0:26-0:37 Verse 2 0:37-0:49 Middle 8 0:49-0:56 Chorus 0:56-1:07 Solo 1:07-1:18 Middle 8 1:18-1:25 Chorus 1:25-1:35 Verse 3 1:35-1:49 Chorus 1:49-2:04 Comments: Another two-part intro (first a guitar riff, then the backing for the verses), just as heard previously in [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [31b] "Matchbox". |
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