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In this sense, the opening chord is a decoy; as musicologist Alan Pollack points out, the home key (F major) has little time to establish itself before "heading towards the relative D minor". [23] He points out that this diversion is a compositional device commonly used by Lennon and McCartney, which he describes as "deferred gratification". [23]
On his A Life in Lyrics podcast, in which the legendary Beatles musician regales listeners with the stories behind some of his most famous songs, McCartney, 81, said he believes the lyric was ...
An interesting feature is the suitably "blissful" modulation (on "Well, well, well, you're feeling fine") [19] to the key of B on the bridge via an F ♯ 7 pivot chord (VI 7 in the old key of A and V 7 in the new key of B). [20] The extended jam that lasts 43 seconds at the end was recorded, but it was removed and replaced with a fade-out.
When the sequence is repeated ("nobody can"), McCartney sings both B and C ♮ over the F ♯ m, the C natural producing a tritone. [14] During the bridge segment beginning "I want her everywhere", the key centre shifts via an F 7 chord (a ♭ VII in the old G key and a V 7 in the new B ♭ key) to a I–vi–ii (B ♭ –Gm–Cm) chord ...
Harrison likened "If I Needed Someone" to "a million other songs" that are based on a guitarist's finger movements around the D major chord. [22] [nb 3] The song is founded on a riff played on a Rickenbacker 360/12, [24] [25] which was the twelve-string electric guitar that McGuinn had adopted as the Byrds' signature instrument after seeing Harrison playing one in A Hard Day's Night.
Recorded in February 1965, "The Night Before" was the first Beatles song to feature electric piano, played by John Lennon. Its film sequence was shot the following May, showing the band miming to the track on Salisbury Plain. The Beatles only played the song live once, during their final BBC Radio performance.
The unusual chord progression is an example of the Beatles' use of chords for added harmonic expression, [28] a device that Harrison adopted from Lennon's approach to melody. [29] Musicologist Walter Everett describes the composition as "a tour de force of altered scale degrees". He adds that, such is the ambiguity throughout, "its tonal ...
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