Formal structure of [124] "Hey Bulldog":
Intro (tag) 0:00-0:14* piano 0:00-0:05 +guitar, drums 0:05-0:09 +bass 0:09-0:14 Verse 1 0:14-0:23 Bridge? 0:23-0:33* Verse 2 0:33-0:43 Bridge? 0:43-0:52* Chorus 0:52-1:04 Tag 1:04-1:13 Solo (verse) 1:13-1:33 Verse 3 1:33-1:42 Bridge? 1:42-1:51* Chorus 1:51-2:03 Tag 2:03-2:13 Coda (tag) 2:13-3:10 Comments: Many Beatles songs have used multi-part introductions, but most of them are two-part intros: [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [89] "I Want to Tell You", [92] "She Said She Said", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", and [114] "All You Need Is Love". On rare occasion, the intro will be in more than 2 parts: [113] "It's All Too Much" (which uses a 4-part intro), and [116] "I Am the Walrus" (which uses a 3-part intro). "Hey Bulldog" is thus just the second Beatles song to date to use a three-part intro: first the piano alone is heard, then the guitar and drums are added, and finally the bass joins in. Each of the three verses are followed by "Bridge?". I include a question mark because bridges are often considered to be part of the verse it follows - and this instance is no exception. But I feel there needs to be some formal designation to show that the music is different (albeit obviously related) to the verses. This will be easier to illustrate when I come to the harmonic analysis of the song, so I will leave further discussion of this notion until then. Lastly, "Hey Bulldog" is another Beatles song to effectively employ the tag. In this case, the tag is the primary instrumental motive of the song (similar to "Day Tripper" and "In My Life"). It functions as a structurally cohesive musical element, despite the fact that it is entirely unrelated to the sung melodies.
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Formal structure of [122] "Lady Madonna":
Intro (v) 0:00-0:09 A major Verse 1 0:09-0:18 A major Verse 2 0:18-0:26 A major Middle 8 0:26-0:40 C major Tag 0:40-0:44 transitional (tonality ambiguous) Verse 3 0:44-0:53 A major Break (v) 0:53-1:01 A major Solo (M8) 1:01-1:15 C major Tag 1:15-1:19 transitional (tonality ambiguous) Verse 4 1:19-1:28 A major Break (v) 1:28-1:37 A major Middle 8 1:37-1:50 C major Tag 1:50-1:54 transitional (tonality ambiguous) Verse 5 1:54-2:06 A major Coda (v) 2:06-2:17 A major Comments: This analysis incorporates a new structural label: the tag, a brief but distinctive musical motive that could be interpreted as an extension whatever section preceded it, but is different enough to warrant independent formal designation. A tag is rather similar to a bridge in that a formal analysis on the briefest level would not distinguish a bridge or tag, but on a more detailed scale, analysis would make such a distinction. Also, tags are often transitional and cohesive in nature. Examples of tags in Beatles music would be the guitar motives in "Day Tripper", and "In My Life", among others. At some point, I will revise my earlier analyses of those songs. With that in mind, looking specifically at "Lady Madonna" we can see that at least in this instance the tag also functions as a tonally transitional element - the tag connects the middle 8s (in C major) with the verses (in A major). As a result, the tag's tonality is a little bit of both C and A major. Formal structure of [121] "The Inner Light": Intro 0:00-0:28 Verse 1 0:28-0:48 Bridge 0:48-1:06 Chorus? 1:06-1:29* Verse 2 1:29-1:49 Bridge 1:49-2:07 Chorus? 2:07-2:25 Coda (ch) 2:25-2:36 Comments: The first thing to keep in mind about "The Inner Light" is that it is another of Harrison's Indian influenced songs. As a result, the formal nomenclature appropriate for the Beatles' other works does not necessarily apply in the same sense to this one. And sure enough, a conflict appears over what to call the sections immediately following the bridges. Are they choruses or middle 8s? I chose the designation chorus because the bridge's purpose (as witnessed in other songs) is to bridge the verses and choruses. No Beatles song so far has used a bridge to connect the verse and middle 8. Furthermore, the point of a middle 8 is to contrast the verses, and while there is an increase in energy (characteristic of choruses), there is little harmonic contrast. This is typical of Indian style music, which employs long drones or pedal points. So I went with chorus. Alan Pollack, in his systematic cataloging and analysis of Beatles tracks, chose "break" as his formal designation - yet another defensible choice, especially since in the first of the two choruses/middle 8s/breaks, the vocals are omitted in favor of an instrumental break. It all boils down to the fact that pop song formal descriptions are not perfectly compatible with Indian music... Regardless, the macro-scale formal structure can be seen as two groups of verse/bridge/chorus, bookended by an intro and coda:
Also notice that the final chorus is abbreviated (18 seconds long instead of 23, as was the first chorus). This is because the last chorus segues to the coda (which itself is an extension of the chorus).
[157] "Dig a Pony""Dig a Pony" is the 60th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [158] "I've Got a Feeling" The middle 8 is used once, lasting 5 measures and 14 seconds, totaling 8.7% (19/218) of the song's duration. [159] "Don't Let Me Down" The middle 8 is used once (as the keystone of a palindromic structure), lasting 8 measures and 25 seconds, totaling 11.6% (25/215) of the song's duration. [160] "Get Back" "Get Back" is the 61st Beatles original not to use a middle 8. The chorus instead serves as a contrast to the verses. [161] "Two of Us" The middle 8 is used twice, lasting 6 measures and and 14 seconds, totaling 13.0% (28/216) of the song's duration. [161b] "Maggie Mae" The middle 8 is used once (although that's debatable), lasting 8 measures and 15 seconds, totaling 37.5% of the song's duration. But, of course, this is incomplete. Had the full song been present, no doubt the middle 8 would not constitute such a significant portion of the track. [162] "Dig It" "Dig It" is the 62nd Beatles original not to use a middle 8. The novel structure has no need for a middle 8. [163] "For You Blue" "For You Blue" is the 63rd Beatles original not to use a middle 8. The novel structure has no need for a middle 8. [164] "Let It Be" "Let it Be" is the 64th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [165] "The Long and Winding Road" The middle 8 is used twice (including the break as a middle 8), lasting 4 measures and 14 seconds each time, totaling 12.8% (28/218) of the song's duration. [166] "The One After 909" The middle 8 is used twice, lasting 16 measures (which can be subdivided into two 8-bar phrases) and 21 seconds each time, totaling 24.1% (42/174) of the song's duration. [167] "I Want You (She's So Heavy)" "I Want You (She's So Heavy)" is the 65th Beatles original not to use a middle 8. The novel structure has no need. [168] "Ballad of John and Yoko" The middle 8 is used once, lasting 8.5 measures and 16 seconds, totaling 8.9% (16/179) of the song's duration. [169] "Old Brown Shoe" The middle 8 is used twice, lasting 12 measures and an average of 20.5 seconds each time, totaling 20.7% (41/198) of the song's duration. [170] "Something" The middle 8 is used once, lasting 8 measures and 28 seconds, totaling 15.4% (28/182) of the song's duration. [171] "Oh! Darling" The middle 8 is used twice, lasting 8 measures and averaging 33.5 seconds, totaling 32.4% (67/207) of the song's duration. [172] "Octopus's Garden" The middle 8 is used once (although that's debatable), lasting 8 measures and 21 seconds, totaling 30.0% (21/170) of the song's duration. [173] "You Never Give Me Your Money" "You Never Give Me Your Money" is the 66th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one. [174] "Her Majesty" "Her Majesty" is the 67th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one. [175] "Golden Slumbers" "Golden Slumbers" is the 68th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one. [176] "Carry that Weight" "Carry that Weight" is the 69th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one. [177] "Here Comes the Sun" The middle 8 is used once. Due to time signature changes that could be interpreted in any number of different ways, counting the duration of the middle 8 in measures is pointless; however, in seconds the duration is 41 seconds. This totals 22.2% (41/185) of the song's duration. The middle 8 consists of 6 iterations of the same pattern (the part with the lyrics "Sun, sun, sun, here it comes") in the first of which vocals are omitted. [178] "Maxwell's Silver Hammer" "Maxwell's Silver Hammer" is the 70th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [179] "Come Together" "Come Together" is the 71st Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [180] "The End" "The End" is the 72nd Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one. [181] "Sun King" "Sun King" is the 73rd Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one. [182] "Mean Mr. Mustard" "Mean Mr. Mustard" is the 74th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley") does not need one. [183] "Polythene Pam" "Polythene Pam" is the 75th Beatles original not to use a middle 8. It's structure (as part of the massive "Abbey Road Medley" does not need one.) [184] "She Came in Through the Bathroom Window" The middle 8 is used twice, lasting 6.5 measures and averaging 14 seconds, totaling 23.7% (28/118) of the song's duration. [185] "Because" The middle 8 is used once, lasting 4 measures and 19 seconds, totaling 11.5% (19/165) of the song's duration. [186] "I Me Mine" The middle 8 is used twice, lasting 10 measures and 18 seconds both times, totaling 24.7% (36/146) of the song's duration. Complete Middle 8 chart: ![]()
Formal structure of [120] "Hello Goodbye": Verse 1 0:00-0:21 Chorus 0:21-0:38 Verse 2 0:38-0:59 Chorus 0:59-1:16 Break (v) 1:16-1:37 Chorus 1:37-1:53 Verse 3 1:53-2:14 Chorus 2:14-2:36 Coda 1 2:36-2:45 Coda 2 2:45-3:29 Comments: No intro, it just starts right up with the first verse (as did [15] "All My Loving", [19] "Not a Second Time", [29b] "Long Tall Sally", [42] "No Reply", [46b] "Everybody's Trying to Be My Baby", [58] "I'm Down", [61] "Wait", [68] “We Can Work it Out”, [76] "Girl", [85] "I'm Only Sleeping", [95] "Penny Lane", and [118] "Flying"). In a Beatles first, "Hello Goodbye" uses two codas - the first concluding the "song proper" and the second improvised coda tacked on just for fun. (Note: [93] "Strawberry Fields Forever" also used two codas, but that was the product of studio manipulation - fading out, then fading back in again - rather than a compositional choice by the songwriters, so I do not count it as two separate formal divisions here.) The break in the middle of the song (1:16-1:37) is based on the verse (i.e. same chords as verse). Interpreting the break as a verse, then, we can see how the song consists of four iterations of the grouping of verse +chorus, with a couple of codas tacked on at the end:
Formal structure of [119] "The Fool on the Hill": Intro (verse) 0:00-0:04 Verse 1 0:04-0:17 Bridge 0:17-0:27 Chorus 0:27-0:41 Extension 0:41-0:44 Verse 2 0:44-1:07 Bridge 0:57-1:07 Chorus 1:07-1:21 Extension 1:21-1:24 Solo 1 (verse) 1:24-1:37 Bridge 1:37-1:47 Chorus 1:47-2:00 Extension 2:00-2:03 Solo 2 (verse) 2:03-2:16 Bridge 2:16-2:27 Chorus 2:27-2:40 Extension 2:40-2:43 Coda (solo/verse) 2:43-2:59 Comments: Each "chorus proper" is eight bars long, followed by a brief two-measure extension at the end, which serves to switch the tonality from D minor to D major. In just a Beatles 6th (after [29b] "Long Tall Sally", [38] "I'm a Loser", [46b] "Everybody's Trying to Be My Baby", [46e] "Honey Don't", [56b] "Dizzy Miss Lizzy", and [58] "I'm Down") , "Fool" contains two solos, plus the coda incorporates the solo. All three times, the music is the same and played by the same instrument, and also all three times it uses the chord progressions of the verse, but with the recorder replacing the vocals. Many recent McCartney tunes have been divided into three macro-scale sections, with each section consisting of a particular pattern of smaller formal divisions. "Fool on the Hill" follows suit, with four macro-scale sections, each consisting of a verse (solo), bridge, and chorus (with extension), with an intro and coda tacked on as bookends.
Formal structure of [118] "Flying":
Section A (beat) 0:00-0:31 Section A (horn) 0:31-1:02 Section A (vocals) 1:02-1:31 Coda (independent) 1:31-2:15 Comments: This even beats out [1] "Love Me Do" as the simplest formal structure of any Beatles song. There is only one section (even "Love Me Do" had two!), which is repeated twice (for a total of three iterations). The chord progressions are identical in each: a 12 bar blues. The biggest difference is the instrumentation: first it's heard just with rhythm section, then with a horn (or, more precisely, a mellotron set to sound like a horn), and finally with vocals. For good measure, a coda (musically independent from the rest of the song) is tacked on at the very end. [121] "The Inner Light" The middle 8 is used twice, lasting 8 or 9 measures and 23 or 18 seconds each time (the second iteration transitions to the coda, accounting for the slightly shortened duration), totaling 26.3% (41/156) of the song's duration. [122] "Lady Madonna" The middle 8 is used thrice (with the middle of those three replacing vocals with a saxophone solo), lasting 8 measures and 18 or 17 seconds each time, totaling 38.7% (53/137) of the song's duration. The middle 8s also modulate from A Major to C Major. [123] "Across the Universe" "Across the Universe" is the 46th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [124] "Hey Bulldog" "Hey Bulldog" is the 47th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [125] "Revolution 1" "Revolution 1" is the 48th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [126] "Don't Pass Me By" "Don't Pass Me By" is the 49th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [127] "Revolution 9" "Revolution 9" is the 50th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [128] "Blackbird" The middle 8 is used twice, lasting 4.5 measures and 11.5 seconds each time, totaling 16.7% of the song's duration. [129] "Everybody's Got Something to Hide Except for Me and My Monkey" "Everybody's Got Something to Hide Except for Me and My Monkey" is the 51st Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [130] "Good Night" The middle 8 is used thrice, lasting 4 measures and 14 or 15 seconds each time, totaling 22.3% of the song's duration. [131] "Ob-La-Di Ob-La-Da" The middle 8 is used twice, lasting 8 measures and 15 seconds both times, totaling 16.0% of the song's duration. The middle 8 tonicizes IV. [132] "Revolution" "Revolution" is the 52nd Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [133] "Cry Baby Cry" "Cry Baby Cry" is the 53rd Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [134] "Helter Skelter" "Helter Skelter" is the 54th Beatles original not to use a middle 8. Instead, the chorus serves as contrast to the verses. [135] "Sexy Sadie" The middle 8 is used twice, lasting 5.5 measures and averaging 11.5 seconds each time, totaling 11.9% of the song's duration. [136] "While My Guitar Gently Weeps" The middle 8 is used twice, lasting 16 measures and 34 seconds each time, totaling 23.69% of the song's duration. The middle 8 modulates from A minor to A major. [137] "Hey Jude" The middle 8 is used twice, lasting 11.5 measures and 37.5 seconds each time, totaling 17.5% of the song's duration. [138] "Mother Nature's Son" The middle 8 is used twice, lasting 7.5 measures and 21 seconds each time, totaling 25.1% of the song's duration. [139] "Yer Blues" The middle 8 is used thrice, lasting 4 measures and averaging about 10 seconds each, totaling 12.1% (29/239) of the song's duration. [140] "Rocky Raccoon" The middle 8 is used twice, lasting 8 measures the first time and 9 measures the second (because the second middle 8 concludes the song), averaging 24 seconds each, which totals 22.6% (48/212) of the song's duration. [141] "Wild Honey Pie" "Wild Honey Pie" is the 55th Beatles song not to use a middle 8. The novel structure of the song has no need for a middle 8. [142] "Back in the USSR" The middle 8 is used twice, lasting 10 measures and 17 seconds each time, totaling 14.7% (24/163) of the song's duration. [143] "Dear Prudence" The middle 8 is used once, lasting 5.5 measures and 17 seconds, totaling 7.2% (17/235) of the song's duration. [144] "Glass Onion" The middle 8 is used once, lasting 10 measures and 19 seconds, totaling 13.9% (19/137) of the song's duration. This middle 8 concludes with two bars borrowed from the end of verse B. [145] "I Will" The middle 8 is used once, lasting 8 measures and 19 seconds, totaling 18.1% (19/105) of the song's duration. [146] "Birthday" The middle 8 is used twice, lasting 10 measures and 14 seconds each time, totaling 17.3% (28/162) of the song's duration. The middle 8 modulates form A major to C major. [147] "Piggies" The middle 8 is used once, lasting 7 measures and 18 seconds, totaling 14.6% (18/123) of the song's duration. [148] "Happiness is a Warm Gun" "Happiness is a Warm Gun" is the 56th Beatles song not to use a middle 8. The novel structure of the song has no need for a middle 8. [149] "Honey Pie" The middle 8 is used twice, lasting 8 measures and 13 seconds each time, totaling 16.3% (26/160) of the song's duration. [150] "Savoy Truffle" The middle 8 is used twice, lasting 8 measures and averaging 15.5 seconds, totaling 21.1% (31/174) of the song's duration. [151] "Martha My Dear" The middle 8 is used twice, with the first iteration incorporating a substantial extension. The first middle 8 (extension included) is 15.5 measures and 42 seconds long; the second is 8.5 measures and 23 seconds long. Combine these two, and the middle 8 totals 43.9% (65/148) of the song's duration. [152] "Long Long Long" The middle 8 is used once, lasting 7.5 measures and 26 seconds, totaling 14.1% (26/185) of the song's duration. [153] "I'm So Tired" "I'm So Tired" is the 57th Beatles song not to use a middle 8. Instead, the chorus serves as a contrast to the verses. [154] "The Continuing Story of Bungalow Bill" "The Continuing Story of Bungalow Bill" is the 58th Beatles song not to use a middle 8. Instead, the chorus serves as a contrast to the verses. [155] "Why Don't We Do It In The Road" "Why Don't We Do It In The Road" is the 59th Beatles song not to use a middle 8. (There is no contrast to the verses, with the possible exception of the percussion introduction). [156] "Julia" The middle 8 is used once, lasting 5 measures and 18 seconds, totaling 10.2% (18/176) of the song's duration. Updated cumulative chart: ![]()
Formal structure of [117] "Blue Jay Way":
Intro (verse) 0:00-0:24 q=74 Verse 1 0:24-0:49 q=74 Chorus 0:49-1:10 q=102 Verse 2 1:10-1:32 q=74 Chorus 1:32-1:53 q=102 Verse 3 1:53-2:13 q=74 Chorus 2:13-2:31 q=102 Chorus 2:31-2:49 q=102 Chorus 2:49-3:07 q=102 Chorus 3:07-3:21 q=102 Coda (chorus ) 3:21-3:55 q=102 Comments: So many contiguous choruses! Many other Beatles songs have used two choruses in a row ([44b] "Kansas City/Hey Hey Hey Hey", [58] "I'm Down", [73] "Think For Yourself", [90] "Good Day Sunshine", [113] "It's All Too Much", and [114] "All You Need Is Love"), but four in a row (plus the coda, which is based on the chorus) is a new record for a Beatles track. (The previous record was "Kansas" with 4 in a row including the , but they were two different choruses - "Blue Jay Way" uses the same chorus four times in a row.) Also notice that the formal structure is articulated by a tempo change: the verses are all quarter note = 74 beats per minute, while the choruses are all quarter note = 102 beats per minute. (If there is a metric modulation at work, I can't discern one - and I would love to be corrected.) This change is reinforced by a change in beat subdivision. The verses use duple beat divisions (straight eighths) while the choruses use triple divisions (swung eighths). Formal structure of [116] "I Am the Walrus": Intro (break) 0:00-0:21 organ 0:00-0:04 strings 0:04-0:16 beat 0:16-0:21 Verse A1 0:21-0:39 "I am he as you ..." Verse B1 0:39-0:55 "Sitting on a cornflake ..." Chorus 0:55-1:04 "I am the eggman ..." Verse A2 1:04-1:35 verse proper 1:04-1:21 "Mister city ..." extension 1:21-1:35 "I'm crying ..." Verse B2 1:35-1:52 "Yellow matter custard ..." Chorus 1:52-2:00 "I am the eggman ..." Break (intro) 2:00-2:25 bell 2:00-2:03 strings 2:03-2:12 vocals (break, VB) 2:12-2:25 "Sitting in an English garden..." Chorus 2:25-2:36 "I am the eggman ..." Verse A3 2:36-2:53 "Expert textpert ..." Verse B3 2:53-3:09 "Semolina pilchard ..." Chorus 3:09-3:25 chorus proper 3:09-3:17 "I am the eggman ..." extension 3:17-3:25 Coda (ind) 3:25-4:35 "joo ba joo ba joo ba ..." Comments: "Walrus" features one of the most sophisticated formal layouts of any Beatles song. Its fragmentary nature (which is the result of three unrelated musical ideas Lennon composed on three different acid trips which were combined to produce the song) contributes to the druggy, scatterbrained effect. The introduction is in three parts (previous multi-part intros were [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", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", [66] "If I Needed Someone", [77] "Tomorrow Never Knows", [79] "Love You To", [81] "Paperback Writer", [82] "Rain, [84] "Taxman", [89] "I Want to Tell You", [92] "She Said She Said", [97] "Sgt. Pepper's Lonely Hearts Club Band", [98] "Good Morning Good Morning", [102] "Lovely Rita", [104] "Getting Better", [105] "Within You Without You", [110] "Baby, You're a Rich Man", [113] "It's All Too Much", and [114] "All You Need Is Love"), with the electric piano alone opening the song, followed shortly by the addition of strings, and finally the drums and bass. Musically, it is based on the break, with which it shares both melodic and chordal patterns as well as subdivisions: Both can be divided into three related sub-sections. But where the third sub-section of the intro adds the bass and drums, the third section of the break adds vocals, the melody for the first half of which is the same as the violins' melody during the second subdivision of the intro; the second half, however, is borrowed from Verse B - the part that leads to the chorus - and the chorus is precisely where the song proceeds. There are actually two different verses, labeled A and B above. While not unrelated (in fact, they start almost identically with the same melodic notes as well as supporting chords), they are certainly not identical. Every time Verse A is heard, it leads to Verse B, however Verse A2 throws in an extension ("I'm crying ...") before segueing to Verse B. Similarly, every time Verse B is heard, it leads to a chorus (and thus functions somewhat like a bridge). The final chorus features an extension, rather similar to Verse A2. But where the extension of Verse A2 was to break up the pattern of immediately following Verse A with Verse B, the purpose of the chorus extension is to propel the song to its coda. Somewhat similar to how many McCartney tracks can be viewed as three macro-scale iterations of some combination of verses, middle 8s, and/or choruses, so too "Walrus" can be seen as three macro-scale iterations of Verse A, Verse B, Chorus, with the Intro and Break inserted to provide contrast (notice there's no Middle 8 to do the job) and with an unrelated coda tacked on at the end.
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