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The key of the song is ostensibly B-flat but the key signature features an A-flat instead of an A-natural. This means that the key signature, scale, and chord selection of Mixolydian B-flat is identical to that of E-flat Major. It's worth noting that this phenomenon is somewhat analogous to the relative Major/Minor relationship. However, in this particular case, the scalar coincidence leads in turn to several distinctive harmonic characteristics:
- the naturally occurring "v" chord in the Mixolydian mode is minor and does not make for an effective V-I cadence. As a result ...
- the burden for establishing the key in this mode falls on the sub-dominant IV chord and the pseudo-dominant flat VII chord; in our modal B-flat key, these are the E-flat and A-flat chords respectively. Although these chords can be used individually in apposition to the tonic I chord, they are often used together, as in the ubiquitous "Hey Jude" progression:
B-flat A-flat E-flat B-flat
B-flat: I flat VII IV I
By the way, I've been often tempted to label that A-flat chord a "IV-of-IV" when used in this context; does anybody else hear it that way ?
- the common pitch content between the tonic and the key of the IV chord makes it very easy in Mixolydian mode to effect a pivot modulation to that key. In fact, this key of the IV is actually capable of being established more firmly than the tonic (I) itself because of the following paradox: the I chord makes a stronger V-of-IV cadence with IV than does the naturally occurring minor v chord with the I.
- finally, I would re-emphasize the modal purity of our current song. There are many other Beatles songs with a strong Mixolydian flavor to them which nonetheless contain a fair amount of the regular Major mode added to the mixture; for examples take a look a "A Hard Day's Night" where the "pure" Mixloydian spell is first broken in the fourth line of the verse ("I find the things that you do ...") by the appearance of a V chord.
Leaving modality aside, the harmony of this song is also distinguished by its frugality. There are only four different chords used throughout, one of which doesn't even make an appearance until the climax of the break (on the word "Boy") but I'm getting ahead of myself.
In our current song, I believe this principle is illustrated on the high level by the choice of form, and on a more detailed level in the way the arrangement pits rhythm and meter against each other. The issue of rhythm and meter will be covered as we go through the music itself, but I want to discuss the formal issue here.
In spite of the fact that SSSS flaunts inscrutably psychedelic lyrics, heavy limiting applied to virtually every instrument as well as the voice track, and of course, that wobbly meter, it also sports a positively buttoned down, classic form:
Intro - Verse - Verse - Break - Verse - Break - Verse - Outro
While this may seem obvious, it's a point worthy of emphasis: No matter how experimental they were in other aspects of composition, The Beatles with very rare exception, clung to such classic forms in their songs; it is as though they needed these forms as a bedrock on which to anchor their experiments lest they fall apart.
The usage of asymmetric, acyclic (albeit clearly articulated) forms are rare enough in their output that their identification and examination as a group would itself make an interesting study. Start with "Happiness is a Warm Gun" and "You Never Give Me Your Money" and see how many more you can find!
Going even further, I'm tempted to argue that it is no coincidence that the even fewer cases where they abandoned articulated form entirely, (e.g., "Revolution 9", "What's the New Mary Jane") have turned out to be among their least popular work over the long run.
All this is *not* intended as a criticism; I mention it to acknowledge that for all their glibly touted breaking of barriers, the Boys were really neo-classicists at heart.
At any rate, with thanks for your patience, let's finally move into our run-through!
----------- 3X ---------
|B-flat A-flat |E-flat |B-flat A-flat |E-flat B-flat|
B-flat: I flat- IV I flat- IV I
VII VII
Measures 7 and 8 feature strong syncopation, and are given an immediate instrumental reprise. The syncopation is all the stronger for coming after three identical repeats of an unsyncopated, almost stodgy harmonic rhythm. Notice, in fact, how the fancy drumwork in the second half of the measures containing only the E-flat chord helps counteract this stodginess and effectively pushes the music forward; a Ringo signature going all the way back to "I Saw Her Standing There." The bassline, on a more subtle level, is also used to push things along here.
Other tasty details:
- an additional source of rhythmic turbulence is to be found in measures 3 and 5 where we have slow triplets (3 notes against two beats) in the voice part; the same trick as in the break of "We Can Work it Out."
- the drum part in the two measure reprise following the verse neatly reinforces the syncopations *without* fancy figuration; a good example of how less can be more.
- the lead guitar part antiphonally imitates the voice part in measures 3, 5, and the two measure reprise.
- look back at our three measures of introduction and notice how it foreshadows both the mocking-bird guitar figure and the fancy-footwork drumming which so heavily contribute to the overall flavor of the song.
- regarding the mix, note how in addition to the heavy limiting applied to everything including the drums, you find the organ mixed almost subliminally far back; it's barely noticeable but for that fleeting tickling sensation you get on the high end of your ears.
- the f minor chord is introduced for the first time in the song at what is possibly the moment of climax, and is used to help make a pivot modulation to E-flat, the key of the IV.
- the meter may be erratic but it's not without its own pattern. This little chart indicates the succession of measures and the number of beats in each:
She said "you don't understand what I said". I said [4+4] "No, no, no, you're wrong. When I was a Boy, [3+3+3] every thing was right. [6+3] Everything was right. [6+3]
- our great illustration of the principle of keeping some musical parameters steady when maxing out on others is two-fold: rather than "fight" the changing meter (at risk of obscuring it), both the harmonic rhythm and the drumming are slavishly at the meter's service. The chords change on every measure boundary, and the drumming (and the bass as well) forgo fancy syncopation for strictly even eighth-note marking of the beat.
- one detail you might quibble with me on are the measures shown as being six beats instead of two measures, each with three beats. I've chosen to go with six beats because of where the chord changes are, and because I hear the those six beats accented by the voice part as though they are broken into 4+2, not 3+3; i.e., I hear the words accented as "everyTHING", not "EVERYthing."
Without further ado, here are the gory details!! Without music paper, this will be a bit awkward to map out, but let's go for it. This is the notational convention used below:
------------------------------------------------------------
1 2 3 4
4 She said "you don't under-
B flat A flat
B flat: I flat VII
------------------------------------------------------------
---------------------------------------------------------------
1 2 3 4
4 stand what I said". I said
B flat
B flat: I
---------------------------------------------------------------
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1 2 3
3 "No, no, no you're
A flat
B flat: flat VII
------------------------------------------------------
------------------------------------------------------
1 2 3
3 wrong. When I was a
B flat
B flat: I
------------------------------------------------------
------------------------------------------------------
1 2 3
3 Boy - -
f
B flat: v
E flat: ii ** point of pivot
------------------------------------------------------
---------------------------------------------------------------
1 2 3 4 5 6
6 - - - every- thing was
B flat
E flat: V
---------------------------------------------------------------
------------------------------------------------------
1 2 3
3 ri- ght.
E flat
E flat: I
------------------------------------------------------
---------------------------------------------------------------
1 2 3 4 5 6
6 - - - every- thing was
B flat
E flat: V
---------------------------------------------------------------
------------------------------------------------------
1 2 3
3 ri- ght.
E flat
E flat: I
B flat: IV ** point of pivot back
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- the cannonic imitation in the split voice parts is a novel development of the idea originally presented in the verse.
- the sudden release of all syncopation is a final, rhythmic coup de grace, coming as it does at the end of two full minutes during which we're constantly bombarded by either syncopation, or a fickle meter. The tempo remains the same, but those evenly-pounded-out eighth notes in the fade out give me a strong feeling of acceleration; as though driving into a free skid on ice.
Alan ([email protected])
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"They tried to fob you off on this musical charlatan,
but *I* gave him the test." 101889#12
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