![]() The harmony is almost clunkily straightforward on the one hand, yet as consequence of the chromaticism of the tune, we also find a strong showing from "added note chords" (e.g. The tune is built primarily out of triadic (bugle call-like) riffs and chromatic (half step-wise) runs. Does the hero somehow envision them inexplicably separated in their autumn years, or merely sleeping most of the time in separate beds? I am puzzled, in the lyrics by the comment in the first bridge about: "If you say the word, I could stay with you." Without a doubt, the rest of the song bespeaks of a long-married (at least long-cohabiting) couple. There is no specific refrain section, though the verse here is of the type whose last phrase is refrain-like. The form is an unusual perfect arch there is no doubling up of any sections, and the intro and outro are identical. The song is mastered in the key of D-flat, nicely resonating with the C# drone of " Within You Without You", though I believe it was recorded in the more "readable" key of C in order to sound higher on playback and give Paul's lead vocal that tremulously earnest quality. ![]() Pepper"'s running order, it provides a well-needed and right contrast to the preceding track. This song is Paul's first official foray into the carefully put-on nostalgic-cum-vaudeville stylization that would become a stock part of his compositional arsenal for the remainder of his career as a Beatle. ![]() Recorded: 6th December 1966, Abbey Road 2 Pepper's Lonely Hearts Club Band",ĬD: "Yellow Submarine Songtrack", Track 13 (EMI 5 21481-2) ![]() | Bridge | Verse | Outro (with complete ending)ĬD: "Sgt. ![]()
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