By analyzing the arrangement, Aldridge argues that the backing of the instrument is described by the finger-picking acoustic guitar part (pg. 46). However, there is the presence of the lead guitars part as well as the bass from the electric instruments used. There is also the lack of the use of percussion especially in part; - Where was Ringo?
Despite the fact that it is Paul certainly in the vocal spotlight, John plays an uncannily inconspicuous supporting vocal role; he is present singing almost the whole time. However, one cannot easily notice that due to the dominance of the lead singer. For instance, John joins Paul in the first part of the song and leaves Paul to continue as a solo in the second part. The bridge as seen in the music appears to be similar in the two.
Style and Form
By analyzing the note Form-wise, the tune has a straightforward note that we have noticed for some time. The tune has a popular two-bridge design with two verses one being a (partial) instrumental solo, separate the bridge. The music has a note that from the initial impression will result one to imply that it is a folk music. The reason for such judgment is made by the basic acoustic arrangement and performance style. However, the tunes tune and chord progression will signify that the tune is indeed and non-folk like. Wagner examines the "Hard Day's Night" collection and notes that there are several instances that the Beatles' often has a tendency toward mixing components of the Blues style into a pop-rock setting (pg.162). Together with other songs on the "For Sale" collection, this specific one is an excellent case of the Boys playing a similar trick, however with folk elements rather than the Blues.
Tune and Harmony
Next note A only a few number of harmonies is relatively utilized all through. Despite the fact that the song is observed to reside completely and solidly inside its home key of C Major, the way in which the chords advance amid the verse challenges your reasonable impression of the home key. There are even (as I would see it) bits of clumsiness to the verse just as Paul hesitantly endeavored for something different.
Next note Chromatic line use of cliches that are in the background as seen by the inner voice of the texture assume a role that reminds us of what we have previously observed in both "Hold Me Tight" and "You Won't See Me." The more obvious instance here is seen in John's descending vocal counterpoint amid the bridge. The vocals are however offset by a longer upward run in verse. In essence, the vocals are significantly better concealed to the degree that it is only implied by the schematic voice of the hidden harmony.
Next note the verse tune is unique as it contains an unusual arrangement of upward leaps of a fourth. Additionally, the verse tune stands out because of its vast pitch range extended across by its expressive curve shape.
Aldridge, Alan. The Beatles illustrated lyrics. Music Sales Limited, 2013.
Wagner, Naphtali. "Starting in the Middle: Auxiliary Cadences in the Beatles Songs." Music Analysis 25.12 (2006): 155-169.
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