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The song is in the key of G major and in 4/4 time. [2] There is an introduction using piano and electric piano, with Paul McCartney and George Martin playing two different piano parts on separate ends of the same Steinway grand piano. The Steinway appears only in the song's intro and was overdubbed separately, as were McCartney's bass and ...
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List of songs recorded by the Beatles; The Beatles albums discography; The Beatles videography; Outline of the Beatles; The Beatles timeline; Apple Records discography, the albums and singles of the Beatles' record label, many of which had involvement by members of the Beatles; The Beatles bootleg recordings; The Beatles' recording sessions
The major key of the song is G, but it appears to resolve on the Em (vi) chord. [5] As Allan Moore puts it, "Mann would argue that it is not the same thing as a 'V-vi' Interrupted or Deceptive cadence because—at that precise point in the song—the role of the E minor as a 'vi' is being questioned and is veering towards tonic status." [6]
"Things We Said Today" is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon–McCartney. It was released in July 1964 as the B-side to the single "A Hard Day's Night" and on their album of the same name, except in North America, where it appeared on the album Something New.
The song was McCartney's attempt to create a sound as loud and dirty as possible. It is regarded as a key influence in the early development of heavy metal. In 1976, the song was released as the B-side of "Got to Get You into My Life" in the United States, to promote the Capitol Records compilation Rock 'n' Roll Music.
The frequent use of added sixth chords in the song accentuate its dreamlike feel. [7] The song also has an example of major 9th harmony in the Cmaj 9 chord on "Here comes the Sun King"; here, above the tonic C major triad, both B (seventh) and D (ninth) combine in the vocals "to form a suitably lush fanfare for the monarch himself." [8]
Among musicologists discussing "It's All Too Much", Walter Everett describes it as a two-chord composition, [4] whereas Alan Pollack contends that the song's sole chord is G major, although he concedes that transcribers may well list fleeting changes to C major over the choruses. In Pollack's opinion, these sections appear to employ IV (C major ...