The Beatles- Here, there and everywhere
- Created by: han_rosek
- Created on: 20-04-24 12:23
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- The Beatles- Here, there and everywhere
- Instrumentation
- Vocals close harmony American Barbershop style
- Lead guitar- rare- plays fills through Leslie cabinet- twangy sound
- Drums often inaudible- rare and subtle
- Stripped down pop set up led by rhythm guitar- emphasise backbeat
- Spread chords in guitar intro
- Vocal line- High tessitura- Gs above stave- McCartney
- Guitar volume pedal used
- Texture
- No backing vocals in section B
- Melody dominated homophony
- Structure
- Altered 32-bar AABA (reduced to 28-bars due to shortened B section)
- Unusual 3-bar intro with free rhythm and chromatic slip from B minor to Bb major chords
- Sections
- 2. A section repeated
- 3. B section (from b.13)- 4 bars divided into a 3-bar and a 1-bar phrase (unusual phrase length and short section B)
- 4. A section- as before with added vocal harmonies
- 5. B section repeated
- 4. A section- as before with added vocal harmonies
- 3. B section (from b.13)- 4 bars divided into a 3-bar and a 1-bar phrase (unusual phrase length and short section B)
- 2. A section repeated
- Tonality
- Intro- Chromatic slip from B minor to Bb major
- A section- G major, occasionally moves to E minor (relative minor)
- B section- Bb major- Secondary dominant (dominant of relative minor)
- Harmony
- 4 chord progression technique in section B
- G major section A has rising parallel root position chords moving up the scale
- G, Am, Bm, C, G, Am, Bm, C, F#m, B7, F#m, B7, Em, Am Am7,D7
- Section repeats with extra chord of F7 at the end of the repeat
- G, Am, Bm, C, G, Am, Bm, C, F#m, B7, F#m, B7, Em, Am Am7,D7
- The transition between section A and section B uses a secondary dominant relation
- Section B, Starts in Bb major and modulates to G major
- I, vi, ,ii,III7 (Bb, Gm, Cm, D7)- D7 acts as a pivot chord between Bb minor and G major- It i chord V7 in G major so creates a perfect cadence into the section A
- Intro ends with chord V7 (D7) which creates a perfect cadence into section A
- There is a secondary dominant in the extension of section A
- G, Am, Bm, C, G, Am, Bm, C, F#m, B7, F#m, B7, Em, Am Am7,D7
- Section repeats with extra chord of F7 at the end of the repeat
- G, Am, Bm, C, G, Am, Bm, C, F#m, B7, F#m, B7, Em, Am Am7,D7
- Melody
- Pauls melody covers large range with use of his falsetto range
- Guitar chromatic counter melody through Leslie speaker, then harmonises with the voice in parallel major 6ths
- Intro- disjunct, each phrase begins with 2nd inversion triadic patterns (g major then Bb major)
- Section A opening- G major Arpeggio up to d then up to A ( range of 9th)
- Section B- mostly conjunct- arpeggio patterns “everywhere”(b13), “Never care” (G minor- b.15), “Everywhere”(G major- b.17 (A overlap)
- Section A and overlap- major 7th range
- End of Section A- Perfect 5th E to A
- Backing vocals- parallel close harmony- fall and rise in stepwise motion
- Rhythm, Tempo, Metre
- Melodic rhythms have gentle syncopationswhich reflect the natural rhythms of the words
- Verses largely quaver dominated- each verse starts with minim
- Bridge contains quicker rhythms- semiquavers
- Tied quavers common in verses, tied quaver to semiquaver common in bridge
- Intro- Free time feel due to time signature change from 4/4 to 7/8 before settling back in free time
- Instrumentation
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