1

Harmonic language and tonal organisation

within the songs of Brian Wilson

ABSTRACT
In this essay I argue that the harmonic language of the music of Brian
Wilson, particularly focusing on the years 1965-1967, can be
understood as belonging to an Extended Common Practice, i.e. a “core”
tonality that runs through much twentieth-century music, from
Rachmaninov to Debussy to Gershwin to Jazz to Barbershop and later
to Pop and Rock. Furthermore, in the music of Brian Wilson one can
find a coherent, distinct and individual harmonic language. In
particular this essay elucidates the specific features of this language.

The music of Brian Wilson contains some of the most sophisticated harmony found in Popular Music.
The specific harmonic features of Brian Wilson’s musical language are listed below (to some extent
listed in order of importance):

1. Tonal ambiguity, lack of resolution and modulating structures;

2. Importance of the bassline: inversions and alterations, unconventional voice-leading;
3. Pivot chords;
4. Ambiguous chords;
5. Modal and chromatic inflections, particularly in transitions;
6. Efficient voice-leading connecting distant chords;

To explore these features I shall focus upon six songs in particular: four from the 1966 album Pet
Sounds (which was begun in 1965), and two from its abandoned 1967 sequel, Smile, which was
finally released in 2011:

I. Don’t Talk (Put Your Head On My Shoulder) – recorded and released in 1966
II. God Only Knows – recorded and released in 1966
III. I Just Wasn’t Made For These Times – recorded and released in 1966
IV. Caroline, No – recorded and released in 1966
V. Wonderful – recorded in late 1966, released in 2011
VI. Surf’s Up – recorded in late 1966, released in 2011
 2

Since the songs were largely not notated, written by ear, with the individual instrumental parts sung
by Brian Wilson to the musicians (or sometimes a copyist) and recorded to produce a “record”
(which is a different entity to a “song"), I have made reductive transcriptions by ear, focusing on the
vocal melody, the main accompanying instrument (which is always a keyboard instrument of some
kind, usually harpsichord, sometime with the addition of tack piano) and the bass line, which is
usually taken by an electric bass (often multiple electric basses playing in unison). Occasionally when
there are other important melodic aspects I have notated them, such as the guitar and mandolin
melodic echo in the chorus of “Don’t Talk”, or some of the melodic string lines in the instrumental
Middle 8 of the same song. These transcriptions can be found in Appendix II: Beach Boys Scores.
Note that generally the bass line is notated an octave higher than it sounds. In the harmonic
reductions of the songs I have generally used Roman Numerals with Figured Bass to indicate
inversion, whilst in the analyses of the specific features of Wilson’s harmonic language I have
sometimes used jazz notation for clarity.

To begin with each song shall briefly be considered in turn, using harmonic reductions, and then
each of the features that identify and form Wilson’s harmonic language will be examined in detail,
finding examples in each song.

I. Don’t Talk (Put Your Head On My Shoulder)

This song appears as the fourth track of Pet Sounds. It is one of few Beach Boys songs not to feature
backing vocals – there is just a solo double-tracked vocal. Here is a harmonic reduction of the verse
and chorus:

As shown, the song modulates through B minor and E minor before “arriving” at G major: there is

no cadence or even root position tonic chord given. In the chorus, the V9 – ii7 progression is
transposed into B major, but the ii7 chord is reinterpreted as a minor subdominant, thus providing

a harmonic pivot back to the tonic G .

Here is the harmonic reduction of the instrumental Middle 8 and chorus fade out:
 3

As shown, the harmony moves through D major, briefly into F major and back to G major via a
pivotal diminished-seventh chord. This tonic is strengthened through use of a minor subdominant
chord with an added 6th, as commonly used in the 19th century.1 Indeed, this sort of mixed modality
is common from Schumann onwards.

II. God Only Knows

The song, perhaps the most well-known on Pet Sounds, opens Side Two of the album. A harmonic
reduction is given below:

The most obvious harmonic aspect is the tonal ambiguity of the song. I have labelled various
possible harmonic interpretations of the song, but there are others. For example, the whole song
could be seen to be in the key of A major, with the verse beginning on the subdominant and the
moving to secondary dominant harmony, preparing the arrival of the tonic for the chorus. However,
this reading rather neglects the local details of the harmony, and is furthermore challenged by the
presence of a D in the horn melody of the introduction, which suggests either an A lydian mode or

the key of E major.

Regardless of how one labels the key structure, clearly there is a move towards the flat side into the
verse, which then moves in the opposite direction towards the dominant (or tonic). The Middle 8
repeats the chord progression of the verse/chorus up a fourth i.e. the whole section is in the
subdominant, relative to the original key. This allows for a smooth transition between the chorus of

1
This chord has an added 6th, and lacks clear notation in numerical or figured bass notation, despite being a
staple chord in the Romantic era. In Jazz harmony it is known simply as a minor 6th chord, so in this case it is
C m6, or iv6. I have distinguished between this added sixth chord and a first inversion chord by using larger
sized numbers for the added 6th chord.
 4

the Middle 8 and the final verse, simply continuing the stepwise motion from a Bm7 (B minor
seventh) chord to the D/A (D major first inversion) of the verse (also creating a three-bar phrase).

III. I Just Wasn’t Made For These Times

This song is appears as the fourth track on Side Two of Pet Sounds. The harmonic reduction is given
below:

The tonality is more stable than in God Only Knows – clearly the song is in B major – but the tonic
resolution is delayed for a long time in the repeated ii – V progressions, and there is also a sense of a
“secondary tonic” of C minor, which is emphasised by the proliferation of a C bass note against
various chords, and VI – V – i progressions in C minor. Various chords are ambiguous due to the
presence of a bass note that does not appear in the chord; this will be discussed in detail later.

IV. Caroline, No

This song closes Pet Sounds, and was the first released single from the album. The harmonic
reduction is given below:
 5

Although the overall key can be seen to be C major, the tonic chord only appears in passing as a brief
resolution of a ii – V – I sequence in the Middle 8. The opening chords are ambiguous, with modal
(mixolydian) suggestions. Clearly there is a move to the subdominant in the chorus. The Middle 8 is
harmonically more conventional, using a circle of fifths (ii – V – I) in C major then its relative minor. A
minor subdominant in first inversion provides a smooth link back to the verse.

V. Wonderful

This song was to be included on the abandoned Smile album of 1967. It was finally given official
release in 2011. An alternative, minimalist version was recorded for the hastily produced 1967
album Smiley Smile. The harmonic reduction is given below:

In a similar way to God Only Knows whose verse begins on the subdominant, the verse begins on the
dominant. Although the following chords are in the key of F major, no tonic chord is given until the
resolution of the ii – V progression; however, chord I7 in second inversion is used, so instead of a
resolution it sets up another ii – V progression in E major. This progression also does not resolve,
instead sidestepping to G major by means of a pivot C minor chord (reinterpreted as a minor
subdominant). The second verse sets up a perfect cadence in B major, but this is negated by a move
to E major/C minor.

VI. Surf’s Up

This song was meant to be one of the centrepieces of Smile; it was later reworked and used as the
title track for the 1971 album Surf’s Up. The harmonic reduction of the first part is given below:
 6

Again, the music modulates and the key is ambiguous. The ambiguous chords which begin the song
could place the music in D minor or G minor (dorian mode). There is a clear ii – V modulation
towards F major, but this is negated by a D7 chord in fourth inversion, which leads to G major, which
itself acts as a pivot, reinterpreted as part of a IV – V – I progression in D major. The final D major
chord acts as a dominant to the G minor that begins the verse.

Having established an overview of the individual songs, the common features found in the songs
shall be extracted and examined.
 7

1. Tonal ambiguity, lack of resolution and modulating structures

These three aspects are common to many of Wilson’s songs in this era. Wilson achieves tonal
ambiguity through frequent unresolved modulations, using a non-tonic opening chord which sets up
a “secondary” tonic and avoiding root position tonic chords. The table below summarises these
features.

Song Overall Tonality? Root- Partial Modulation?

position tonicisation
tonic? of non-tonic
first chord?

I. Don’t Talk Two possible keys No Yes Verse: B mE m G

(E m/G ) Chorus: G B
G more likely Mid 8: G D F G

II. God Only Knows Two possible keys No Yes Verse: AE via F m
(E/A) Mid 8: up a fourth
III. I Just Wasn’t One key Briefly Yes Temporary tonicisation of ii (Cm)
(B )

IV. Caroline, No One key, ambiguous No Yes Verse: C?F

Mid 8: CAm
V. Wonderful At least two keys No Yes Verse 1: F EG

Verse 2: F EBC m

VI. Surf’s Up Multiple possibilities No Yes DmFGD

 8

2. Importance of the bassline: inversions and alterations,

unconventional voice-leading

For Wilson, who initially played the electric bass with The Beach Boys on tour and in the studio, the
bassline is a very important feature: far from just playing the root of each chord, the bassline is given
its own melody, and at times there is a clear dualism between the harmony outlined in the bass and
the rest of the harmonic structure.

I. Don’t Talk (Put Your Head On My Shoulder) features a melodic, generally stepwise bassline
throughout, relying upon chordal inversions. When chord V7 in E minor (B 7) resolves to i, the bass

plays a D which avoids a full resolution, and through being a chord it sets up a chromatic descent.

In the Middle 8, the bassline begins with an ascending line. In the V chord in D major, the 7th

resolves upwards to D in second inversion. The stepwise ascent continues onto V in F major, and

this time the 7th resolves downwards to a first inversion tonic (F /A ). Through this and later

examples it can be concluded that where the chord is a dominant seventh (not a minor seventh

chord), Wilson resolves the 7th upwards onto a chord as part of an ascending progression (i.e. with

a stepwise ascent in the bass). On the less common occasions where the 7th resolves downwards, it
is not part of a directly ascending progression. After the pivotal diminished 7th chord in the Middle
8, the ascent continues up to D , thereby making the overall ascent of the Middle 8 an octave.

II. God Only Knows features a bassline in the verse which initially ascends, with some leaps, then
descends by step into the chorus. The stepwise bass motion in the chorus avoids any tonic (E major)
root position chords, which helps cloud the tonal centre. The second inversion chord which begins
the verse (D/A) sets up the lack of tonal stability (in no way does it function as a V chord). As in

Don’t Talk, the chord (B7/A) resolves upwards to a chord (to E/B, although with octave

displacement), which on this occasion has some sense of functioning as a V .

III. I Just Wasn’t Made For These Times sees the bassline in partial independence to the harmony.
Looking at the bassline in isolation, an ̂ ̂ ̂ ̂ descent in C minor is implied, which

establishes C minor as a secondary tonic, as previously mentioned. In this song the bassline
frequently provides a note that does not appear in the chord, which creates ambiguous harmonies.
The opening chord of the song can be seen as a tonic suspended second chord, with the suspension
in the bass. This movement of suspension-resolution sets up a bass descent, down to G, the
“secondary dominant” (in using this term I am not meaning V of V but the dominant to the
 9

aforementioned “secondary tonic”). The G is harmonised with a Dm7, which is exactly the same
chord as the 2nd chord in Surf’s Up. In this context it functions more as a G11 because it leads back
to the C. The second time around this relationship is made more manifest with the slash chord
Dm7/G reinterpreted as G9sus4 and thus resolving to G7-9. This happens again before the pre-
chorus. The pre-chorus itself, a sequence of ii7 – V7s, is underpinned by a C pedal, so the dominant
chords do not have such a strongly functionally dominant feel. Sometimes the root is given, but only
briefly. Finally when the ii7 – V7 progression resolves onto I, it does so with the C in the bass, thus
undermining the finality of the arrival. A walk-down of C – B – A – G in the bass (under a Bb chord)
acts as transition back to the opening chord of the verse.

IV. Caroline, No again features independence of bass and harmony. In the opening chords of the
verse, the bass moves by a 4th and the harmony moves by step, which makes the overall harmony
very ambiguous – is it G6 to F6/C, or Em7/G to Dm7/C or a combination? A repeated bass G
underlies a V – v – I7 – IV progression, thus reinterpreting both G and C as ii – V in F major. At the
candence point, the bass remains on ̂ (C) for an extra bar, thereby prolonging the full resolution to
the temporary tonic (F) for an extra bar. After a simply circle-of-fifths based Middle 8 where the bass
plays the roots, the bass descends a semitone onto a first inversion minor subdominant chord in the
tonic C major; this chromatic stepwise motion enables a smooth transition back to the opening
chord of the verse.

V. Wonderful also features independence of bass and harmony. The opening bass descent of ̂
̂ ̂ ̂ ̂ implies a dominant-tonic resolution, but the harmony itself moves from dominant-

subdominant. As discussed in the previous section, this lack of resolution keeps the music moving
forward. After an intervening chord ii7, what seems to be a V6, V, I progression in the bass is
harmonised with V7 – I7 – i7, so by the time the I is reached in the bass it is already part of a ii7 – V7
progression in E major. The modulation from C minor to G major (or D major) is achieved through
a stepwise melodic ascending bass, and the transition from the chorus back to the verse is achieved
through the bass alone, as a solo voice. In the second part, the bass movement G - E - F - A - B
implies a secondary-dominant coloured resolution to B major, but instead Wilson overlays the
subdominant, E major as a chord, which as with all his chords moves upwards, to C# minor,

which, as previously mentioned, is partly tonicised through being in root position.

VI. Surf’s Up again features independence between the bass and the harmony. In the opening
chords, the bass outlines a V – i progression in G minor (or i – iv in D minor), but the above harmony
is iv – i in D minor. In this way, the bass moves by a 4th and the harmony by a 5th, thereby moving in
the opposition direction. This creates chordal ambiguity; the G bass gives the Dm7 a slight Gm11
 10

impression. As in the other instances, the chord (here as part of a IV – ii – V – V progression in F

major) is part of an ascent, ultimately from F major to G major, both in second inversion. The
intervening chords include a to progression, with the C having functioned as a pedal which

becomes a third inversion 7th chord and resolves upwards to the chord. From this chord (G/D),

again the bass moves by a fourth, from D to G, but this time the above harmony moves by step, as in
Caroline, No but in the opposite direction. This creates another V chord, which again resolves

upwards to a chord (A7/G to D/A). This second inversion chord then acts as a dual-dominant: the

bass A resolves to the bass D beginning the verse, and the D harmony resolves to the Gm7.

So it can be seen that Wilson uses a melodic bassline to continually move the harmony forward and
to generally avoid resolution. Often there is independence between the bass and the harmony,
creating ambiguous chords and “secondary tonics”. As a rule, Wilson resolves V chords upwards

onto chords as part of an ascending progression. Mostly the bassline either provides an ascent or a

descent.
 11

3. Pivot chords

Wilson often uses pivot chords to move between keys, reinterpreting the function of the chord in a
new context. Generally they can be seen in the overlapping harmonic interpretations present on the
previously shown harmonic reductions: specific examples are given in the table below.

Song Pivot Chords: Original interpretation and Reinterpretation

I. Don’t Talk Chorus: C m7 = ii of B iv of G

6
Mid 8: C 7/B = VII of D /Ger of E m V of F

II. God Only Knows Verse: F m = i of F m/vi of Aii of E

III. I Just Wasn’t Verse: Dm7/G = iii of B V of Cm

Dm7/G = i11 of GmV11 of Cm

IV. Caroline, No Chorus: F = I of FIV of C/ VII of G mixolydian

Mid 8: Dm = iv of Fii of C
Fm = vi of Amiv of C
V. Wonderful Chorus: C m = vi of Eiv of G

End of chorus: G = I of G V of C

Verse: C = I of C V of F

2nd Part: E m7-5 = VI of EII of B

End of 2nd Part: E/B = IV of BI of E

E/B = I of EIII of C m

C m = i of C mi of C

VI. Surf’s Up Dm7/G = i of Gm/i of Dmii/iv of F

Transition: D/A = I of DV of Gm
 12

4. Ambiguous chords: dual-function and substitutions

As well as using pivot chords, Wilson also uses chords which either have no single definitive way of
describing their function, or chords which in isolation would normally function one way but in
context function in another way, i.e. chordal substitutions.

Examples of the former (chords lacking definitive functions) are the Bm6 or G m7-5 (chords ii6 in A

major or ii in F minor respectively) in the verse of God Only Knows, the first chord of I Just Wasn’t

Made For These Times which could be described as Gm7/C, B 6/C, Cm11 or B sus2, and

subsequently the Dm7/G chord could be a Dm7 chord (chord iii) or a Gm11 chord (chord VI11).
Wilson exploits these ambiguities. In Caroline, No, the alternating chords of the verse are completely
ambiguous, as previously mentioned, as are the opening chords of Surf’s Up, lacking definitive
functional description.

Examples of the latter (chordal substitutions) are the Cm7-5 chord which appears as part of a
descent in the verse of Don’t Talk, which functions as A 9/C with the root omitted, i.e. the major

subdominant (IV) in E minor, or indeed as II in G major (as a secondary dominant) but not as chord

ii in B minor, as it previously functioned a few bars earlier. Another example among many is the

E m7-5 chord which appears near the end of the second part of Wonderful and functions as a

secondary dominant in B major (similar to Don’t Talk, and also the A m7-5 chord of God Only Knows

which links the verse and chorus), not as chord ii in D minor. The A 9 chord in the verse of I Just

Wasn’t Made For These Times can also be seen as a substitution for the minor subdominant, E m6,

which is a classic jazz substitution.

 13

5. Modal and Chromatic inflections, particularly in transitions

Often the ambiguities of the Wilson’s harmony mean that it can be interpreted as being modally
inflected. For example, in Don’t Talk, the minor seventh harmony of the first chord and the raised
6th degree of the vocal melody implies a possibly E dorian modality; this is subsequently heard in

the context of B minor. In God Only Knows, the chorus has a lydian inflection, due to the ambiguous
tonality (E major or A lydian). The opening seventh chord of Wonderful suggests a possible
mixolydian modality, while the C m7 chords of the end of the second part suggest the aoelian mode.
The ambiguous alternate chords of Caroline, No suggest a possible G mixolydian mode; the opening
chords of Surf’s Up suggest either G dorian or D aoelian.

Chromatic passages are used as passing chords, principally at transitions, for example in the
transition between the chorus and verse of God Only Knows, parallel chords are used, first too far

dominant (B major) and then too far subdominant (C major), thus sandwiching the target of D major.
The solo bass transitioning walk-up in Wonderful is similar, consisting of the notes E, F , G , A , B,
thus outlined an E lydian scale.

6. Efficient voice-Leading connecting distant chords

Generally each subsequent chord that Wilson uses is connected to

the previous chord by means of efficient voice-leading. In Wilson’s
case, this can be mainly ascribed to the fact that he wrote the songs
at the piano, often holding down a chord and then moving individual
fingers down by step, listening for harmonies that he liked.

A particularly good example can be found in the chord that links the verse to the chorus of God Only
Knows, which has already been discussed as being an ambiguous chord, in particular a chordal
substitution. Here the two inner voices remain on their pitch, while the two outer voices move
outwards (in contrary motion) by semitone.

Analysing chords in their direct relationship to each other (without necessary reference of a tonic) is
of course the motivation behind Neo-Riemannian theory. Here (and perhaps in most cases) there is
no gain in naming specific triadic transformations; the key aspect is the efficiency of the voice-
leading underpinning harmonies which may not so clearly find relation within a solely tonal context.
 14

Conclusion

Having looked in depth at the harmony of these songs by Brian Wilson, interestingly much of the
harmony bears strong relation to the sort of harmony we think of as characteristic of the 1910s and
1920s. Indeed, Schoenberg names various features of “extended tonality” which can be directly
applied to this music. He speaks of “fluctuating tonality”, where the harmony can be described in
relation to multiple tonal centres. This is clearly the case in God Only Knows for example, whose
harmony for most of the song can be seen as in either A major of E major; similarly, sections of Don’t
Talk can be seen to be in both E minor and G major. Schoenberg also speaks of “floating tonality”2,
where “vagrant chords” are prominent, creating “roving harmony” i.e. passages of music where
frequent ambiguous chords are used (such as the diminished seventh, the augmented triad and the
augmented sixth) so that the tonality itself becomes ambiguous and difficult to describe as a single
definitive analysis. Certainly, in the case of the songs of Brian Wilson, some of the chords I have
called ambiguous chords can be described as “vagrant chords”.

Even though the songs were written largely by “feel”, without knowledge of specific tonal and
harmonic functions, and indeed without much knowledge of extended tonal music in the 1910s and
1920s (in particular, the music of Debussy, Sibelius, pre-atonal Schoenberg and Strauss, among
others), it is very interesting that one can analyse the songs successfully in this way, without
becoming irrelevant to the music. Of course, this is not without precedent: for example, in 2004 an
article was published in Music Theory Spectrum applying Neo-Riemannian theory to pop-rock music3,
but that only looks as a specific aspect of harmonic analysis. Through focusing more widely upon the
actual music and extracting the distinctive features of the harmony, I have sought to demonstration
the sophistication, coherence and individuality within the music of a band that many dismiss as mere
“fun-in-the-sun”. Indeed, the music of Brian Wilson can be seen as not just drawing from tonal
practices, but being part of an extended tonality and a significant example of twentieth-century
tonality, as well as being a model for songwriters today, nearly fifty years on. Perhaps Brian Wilson
was right when he sung “I guess I just wasn’t made for these times”.

2
For more detail, see Anthony Pople, Berg: Violin Concerto (Cambridge University Press, 1991), Chapter 5.
3
Guy Capuzzo, Neo-Riemannian Theory and the Analysis of Pop-Rock Music (Music Theory Spectrum, 26/2
2004), Pages 177–200
 Appendix
Beach Boys Transcriptions
 Don't Talk (Put Your Head On My Shoulder)
Tony Asher Brian Wilson

™
bbbb b ™™4 Œ nœ œ œ œ œ 3œ œ nœ ™
J œnœ ‰ œj œ bœ
œ™ œ œ 3œ œ œ ™
J œœ
Voice & b 4
I can hear so much in your sighs and I can see so much in your eyes

b b b ™4
{ & b b b ™4 w
Be -ing here with you feels so right we could live for - e - ver to - night

b˙ n ˙˙˙˙
ww
w n ˙˙˙˙ n ˙˙˙
˙ b ˙˙˙ b ˙˙˙˙ n ˙˙˙˙
Organ

? bb b b ™™44 wœ™ ˙œ™ ˙œ ˙œ ™ œ ˙œ œ

Electric Bass bb œ
J
œ œ œ
J œ J ˙œ ™ œ
J n˙œ œ

b œ œ œ œ ˙ œ
œ œ œ œœ ‰ j œ
5

& b bbbb Œ œ nœ bœ
œ œ œ3 nœ bœ œ œ œ œ
3
j
œ œ
there are words we both could say but don't talk, put your head on my shoul - der.

b
& b bbbb
let's not think about to - mor - row (and)
∑ Œ œ œ œ œJ œ œ œ ˙ Ó Œ œ œ œ œJ œ œ œ
(guitar + mandolin) 3 3
bbb
{ & b b b bn ˙˙˙ b ˙˙˙ w
w
w w
w w
w
w
˙ w w
w w
? bb b b b˙œ™
bb œ ˙œ œ wœ™ œJ œ œ wœ ™ œœ œ wœ™ œJ œ œ
J J

b œ œ œ œ™ œ bœ œ 3œ nœ
9

& b bbbb Œ
œ œ œ3 nœ bœ œ œ
3
Œ
J
Come close, close your eyes and be still. Don't talk, take my

b
& b bbbb ˙ Ó Œ œ œ œ œ œ œ œ
J ∫˙ Ó
3
bbb
{& b b b ww
w
w
w ∫w
w
w
w
w w w
? bb b b wœ ™ œ œ œ bwœ ™ œ œ œ
bb J wœ™ œJ œ œ J

˙™ œ
& b bbbb bœ ™ ™™
b œ ∫œ bœ œ œ ˙™
12 3
3
∫œ J J Œ
J
hand and let me hear your heart beat.

b
& b bbbb Œ œ œ œ œ œ œ œ ˙ Ó ∑ ™™
J
™™
3
b b b ∫ww ∫∫∫w bw
{ & b b b ∫∫w
w w
w w w
w
w w w
wœ ™
™™
œ œ œ œ
? bb b b
bb
J œ bœ ∫œ wœ ™ œ œ œ
J
2

b œ œ œ œ œœ œ œœœ
15
b
3 3

& b b bb J J œÓ ∑ ∑ ∑ ∑

œ b œw œ œ n ˙
3
Lis - ten, lis - ten, lis - ten.

b œ œ ∫ œ œ ˙ œ œ nœ w
& b bbbb ? œ
(strings)
∑ ∑
3
bbb w ˙˙˙ ˙˙
{& b b b w n˙˙˙ b˙˙ b˙˙˙ ˙ ˙ ˙
w
w ˙ ˙ ˙ ˙ nn˙˙˙ b˙˙ ∫˙˙˙ ww
w
? bb b b œ ™ ™ œ∫œ ∫œ œ™ œ™ œ œ œ œ™ œ œ œ
bb œœ œ œ™ œ œ œ œ J
œœ œ
J J J
J J

& b b bb ™™ Œ
bb œ œ œ œ3 nœ bœ œ œ œ Œ œ œ œ œ3 nœ bœ œ 3œ œ œ ™
21 3 repeat and fade

œ œ
J œ

? bb b b ™™ ˙
Don't talk, put your head on my shoul - der. Don't talk, close your eyes and be still.

bb Ó & Œ œ œ œ œJ œ œ œ ˙ Ó Œ œ œ œ œJ œ œ œ
bbb ™
{& b b b ™ w
3 3
w w
ww
w ww
w w
ww
w ww
w
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œ™ œ œ œ
J œ™ œ œ œ œ™ œ œ œ
J œ™ œ œ œ
bb J J
 God Only Knows
Brian Wilson
Intro

° #### 4 Œ French Horn

¢& 4 & œ œ ™ œ ˙ ™ œ œ™ œ ˙™
j œ w ∑ Œ j œ
‹
Voice œœœ œœœ

#### 4 œ œ
{ & 4 œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ
Keyboards
. . œ. œ. . . . . . . . . . . . . œ. œ. œ. œ. . . . .
? #### 44 ‰ œj œ™ œ œ™ œ
∑ ∑ ∑ Ó j j j j
Electric Bass
œ œ œ™ œ œ™ œ

$ Verse
° #### ™™ œ œ œj œj œ ™ Œ™ j
7
nœ œ œ
¢& œ œ œ œ œ
w ∑ Ó &
‹
J
3
I may not al -ways love you, but long as there are
If you should e - ver leave me, though life would still go

#### œ œ œ œ ™ Flutes
{& œœœ œœœ œœœ œœœ ™ ‰ j œj œ ™™
Keyboards

. . . . œœ œœ œ n œ nœœœ. œœœ œœœ

. .
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. . . . . .
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œ œ nœ ™
j j
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j j j œ œ
œ™ œ œ™ œ™ œ œ™ J J

° #### œ œ j œ œ ‰ œ œ œ
Œ Œ œ œ œ
12
Ó œ œ
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3
œ ‰
3
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‹
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stars a - bove you, you nev - er need to doubt it, I'll make you so
on be lieve me the world could show no - thing to me, so what good would

####
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œ j j j j j j
J J œ œ™ œ

° #### œ œ ™™
To Coda Ø Chorus
œ œJ œ™ œ œ œ œ
16

¢&
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3
J œ œ œ ˙ œ
‹
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3
sure a - bout it. 'n' God on - ly knows what I'd be with - out you.
li - ving do me?

#### ™™
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. . . .
To Coda Ø . . . . . . . .
j ™
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j j j j j j j
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2 Bridge

#### j j
‰ nœœj nœœ ‰ nœœj nœœ
20

{ & œœ ‰ œœ œœ nœœ œœ # œœ œœ #œœ ‰ œœ œœ nœœ œœ # œœ œœ

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Middle 8

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24

& ∑ ∑
‹
œ
n' doo doo doo doo doo da hih doo doo doo doo doo doo doo
## ˙ œ ‰ ˙ œ ˙
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‹
####
Huh Huh uh Ooh Ooh
j
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‹
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Ba pa ba pa ba pa ba pa ba pa

#### nœœ œœ œœ œœ
{ nœœœœ œœœœ œœœœ œœœœ nœœœ
& nnœœ œœ œœ œœ œœ œœœ œœœ œ œœœœ œœœœ œœœœ œœ œœ œœ œœ
. . . . . . . . . œ. . . nœœ. œ . . . œœ
.
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.
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J œ nœ ™
j œ œ™ œ œ™ œ œ™ œ
J J J J J J J J

Chorus D.S. al Coda

° #### œ ™ œ nœ. nœ œ œ ˙ ‰nœ œ œ

Œ ‰œj œ œ œ œ œ œ nœ œ œ œj œ ™
29
˙ œ3
& J ˙ œŒ
‹
J
doo doo doo doo doo doodoo doo doo doo dooh and God on ly knows what I'd be with out you.

#### ˙ œ ˙ ˙
& Œ Œ œ œ ˙ ∑ ∑ ∑
‹ Ooh Ooh

#### j j Ϫ j
¢ ˙ ˙
& œ œ œ ‰ œ œ œ™ œ œ ∑ ∑ ∑
‹
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ba pa ba pa ba pa ba pa ba pa ba ooh

#### nœœ œœœ œœœ œœœ nœœ œœ œœ œœ

{ & nnœœ. œ
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J J J J J J J J
Ø Coda
° #### Ó
3

œ œ œ œ œœ ˙ Œ™
35
œ œœœ Ó jœ œ
& ˙ ˙ œ œ œ
‹ 3

####
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God on - ly knows what I'd be with-out you. and God on - ly knows

& ∑ ∑ Ó œ œœœ ˙
‹ 3

####
God on - ly knows what I'd be with -out you.

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¢ & ∑ ∑ ∑ ∑ Œ œ
‹ what good I'd

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Strings
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J

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40 Tag

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˙
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3

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##
what I'd be with - out you. and God on - ly knows

& ##˙ Ó Ó œ œ œ œ œ œ œ œ ˙
‹ 3
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#### ˙™ w
God on - ly knows what I'd be with - out you.
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¢ & Œ
‹ 3
be with - out you. God on - ly knows what I'd

#### ™™ œœœ œœœ œœœ œœœ

{ & w
w w w
w œ. œ. œ. œ.
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wœ ™ œJ œ ™ œJ wœ™ œJ œ™ œJ wœ ™ œJ œ ™ œ œ™ œ

° #### œ œ œ ™™
44 repeat and fade

& œ œ ˙ ˙ Ó
‹
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3

## ™™
what I'd be with - out you.
œ
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3
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God on - ly knows what I'd be with - out
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¢ & Œ œ
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be with - out you. God on - ly

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j j j j j j
œ œ™ œ œ™ œ œ
 I Just Wasn't Made For These Times
Tony Asher Brian Wilson

° bb 4
Ϊ
Verse
œ œ j œ œ œ
¢& 4 œœJ œ œ œ œœ œ œ œ œJ J J œ œJ œ œ œ bœ œ
j
œ™ œ œ j
Voice J J J J J œ
I keep loo -king for a place to fit in where I can speak my mind and
Ev -ery time I get the in - spi - ra - tion to go change things a - round

b 4Tack œœœ œœœ œœœ œœœj ‰ ‰ j œœ œœ œœ œœj ‰ ‰ j j

{ b ‰ j j bœœœ œœœ œœœ œœœ ‰ ‰ j œœœ œœœ œœœ œœœ ‰
Piano

Keyboard & 4
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? bb 44 ‰̇ œj œ œ œ œ œ œœ ‰˙ œj œ œ œ œ œ œœ ‰ œj œ bœ bœ œ œ œ ‰ œj nœ nœ œ œ œ œ
Electric Bass
Œ™ J Œ™ J b˙ Œ™ œJ n˙ Œ™ œJ

° bb œ œ œ œ œ œ œ
5
j

¢& œœJ œ œ œ œJ œ œJ œ œ œ œ œ œ j ‰ œj
j
œ œ œœ J J J J œ œ
œ J J J J J
I've been try -ing hard to find the peo - ple that I won't leave be - hind. They
No -one wants to help me look for
j pla - ces
j
where new things might
j
be found.
j
bb ‰ j œœœ œœœ œœœ œœœ ‰
{& œ œ œ œ œ j ‰ œœœ œœœ œœœ œœœ ‰ ‰ j bœœœ œœœ œ
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œ œ œ œ œ œ œ
? b ‰̇ œj œ œ œ j œ j œ ‰ j nœ nœ œ œ œ œ
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b Œ™ J Œ™ J Œ J n˙ œ Œ™ œJ

° b œ œ œ œ œ œ œ œ œj œ j œ œ œ œ
‰ œœ œœœ
9
œ ˙
¢& b œ œ œ ‰ J Œ
œ
J J
say I got brains but theyain't do - ing me no good: I wish they could.
Where can I turn when my fair - wea -ther friends cop out? What's it all a - bout?

bb bœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ bnœœœ œœœ œœœ œœœ
{
+guitar

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? bb Ϫ j
œ œ œ œ™ œ œ œ œ™
j
œ œ Œ œ™
j
œ œ Œ
J

° bb œ™ œ œ œ œj ≈ œr œ œ
13
œ œ œ œ œ œ œ œ ‰ œj œ œ œ
¢& œ
+backing vocals (block chords)
œ œ œ œ œ
œ
Each time things start to hap -pen a - gain I think I got some -thing good going for my - self but what goes
j j j œœj œœ œœ ‰ œœœj œœœ œœœ ‰ œœj œœ œœ ‰ œœœj œœœ œœœ ‰ œœj
bb ‰ bœœœœ œœœœ œœœœ ‰ nœœœœ œœœœ œœœœ ‰ œœœœ œœœœ œœœœ ‰ œœ œœ
{
banjo

& œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ

? bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

° bb œ œ™ œ œ™ œ™ œ™
17 Pre-chorus
Ó œ œœ œ œœœ Œ œ œ
& J Ϫ J J J J J J
wrong? Some -times I feel ve -ry sad, some -times I feel

b j
¢& b ∑ ∑ ∑ ‰ œ œ™ œ œ œ œ œœ
Ain't found the right thing I can

b ‰ œœj œœ œœ œœ œœ œœ œœ ‰ œœœ œœœ œœœ‰3 r œœœ œœœ œœœ œœœ‰ ‰ œœœ œœœœ œœœ‰ œr œœœ œœœ œœœœ œœœ‰ ‰ œœ œœ œœ 3 r œœ œœ œœ œœ
Tack Piano

{&
3
b œœœœœœœœœœœœœœ œ œ œ œ œ œ œ‰ œ œ œ œ œ œ‰
ad lib 3 3 3 3 3 3 3 3 3 3
3 3

? bb œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
 ° bb œ œ
2 21
œ œ œ œ Œ œ œ™ œ œ™ œ œ œ œœ œ Œ
& J J J J J J
ve - ry sad, some - times I feel ve - ry sad,
b j Ϫ
&b œ œ ‰ œ œ œ œ œœ œ œ
3 3
œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ™
put my heart and soul in - to,
œ œain't
œ found
œ œ
the right thing œ œ œI can put my heart and soul in - to,
b
¢& b
∑ J œ œ œ œ Œ
J J
b ‰ œœœ œœœœ œœœ ‰ œr œœœ œœœ œœœ œœœ œœ œœ œœ 3 r œœ œœ œœ œœ œœœ œœœ œœœ 3 r œœœ œœœ œœœ œœœ
Peo -ple I know don't wan -na be where I'm at.

{&
3
b œ ‰ ‰ œ œ œ œ‰ œ œ œ œ œ œ‰ ‰ œ ‰œ œ ‰
3 3 3 3 3 3 3 3 3 3 3 3

? bb œ œ œ
œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ œ

° bb Flutes œ œ œ œ œ ˙™ ™™
24 Chorus

¢& œ œ œ œ
1.
˙ œ œ œ œ Œ Œ ∑
˙™ J œ J
I guess I just was -n't made for these times.

bb œœ œœ œœ œœ #œ œ œ œ nœ ™™
{ & œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ
œœœ œœœ œœœbnœœœ œœœ œœœ œœœ w ∑
saxaphones

œ œ œ œ œ œ œ b ˙˙ ˙˙ w
˙˙ n ˙˙˙ ˙˙˙
˙ ˙˙ w
w

™™
œ™ ˙™
? bb œ™ œ œ j
1.

J œ œ œ œ œ œ œ œ œ œ ˙ œ bœ Œ
œ œ
Instrumental
° bb ˙ ™ œ œ œ œ œ œ œj œ œ œ œ œ œ j j œ
œ œ œ œ œ œJ œ œJ œJ œ œ œJ œ
30
œ œœ
¢& œJ œ J
œ ˙
2.

J J œœ J J J J J ˙
gliss.

(times) Electro-Theremin

b j nœ œj œ œœ œœ œœ œœj ‰ ‰ j œœ œœ œœ œœj ‰ ‰ j œœœœ œœœœj‰ ‰ j œœ œœ bnœœœœj‰

{ & œj œ nœ œ œ œ œ œ
b j ‰ j b
tack piano

œnœ œ œ œœœœœ œœœœ œ œœ œœœ œ bœ œ œ œ œ œ œœ œ œ œ

Ϫ
j j
? bb œ œ œ bœ ™ j
Ϫ
j
2.
∑ ∑ œ™ œœ œ œœ œ œœ œ

Chorus Tag

° bb +backing
™
™
œ œ œ j œ œ œ j
36

¢&
œ œ œ œ œ œ œ œ œ œ
vocals (block chords)

œ J œ œ J œ
b ™
{ & b ™b ˙˙
I guess I just was - n't made for these times. I guess I just was - n't made for these times.

˙˙ n ˙˙˙ ˙˙˙˙ ˙˙
˙ ˙˙˙˙ ˙˙
˙ ˙˙˙˙ ˙˙
˙
j ‰ œj œ ‰ œj œ ‰ œj œ
? bb ™™ ‰œ œj œœ ‰œ œ œœ œ ‰ j œ
œ œ œ œ œ œ
‰ j œ
œ œ œ œ œ œ
‰ j œ
œ œ œ œ œ œ

° bb œ œ œ œ œ œ œ œ ™™
40

¢& œ
repeat and fade
œ œ œ J œ œ œ œ œ œ œ œ
J J J
b ™™
I guess I just was - n't made for these times. I guess I just was - n't made for these times.

{& b ˙˙˙ ˙˙ ˙ n ˙˙˙˙ w w

˙ ˙ j b ˙˙˙ ww
bb w w
w
w
? bb ‰œ œj œœ ‰ œ œ œ ‰ j œ
œ œ bœ œ œ œ œ
Œ Œ ‰ j bœj ‰ Œ Œ ™™
œ bœ œ œ œ œ œ œ œ œ
 Caroline, No
Tony Asher Brian Wilson

$
4
&4 ‰ ∑ ∑ ™™ Œ œ œ ™œ œ œœ
j j œ œj œ™
œœ Œ™ j j œ œ œ œ
Voice
Œ œœ œ œ œ œ
Where did your long hair go? Where is the girl I
Who took that look a - way? I re - mem -ber how you

™™ œ œ œ œ œ œ œ œ œœ œ œœœ œ œ œ œ œ œ œ
Could I e - ver find in you a - gain thingsthat made me love you
4
Harpsichord
{& 4 ∑ ∑ ∑
œœ œœ œœ œœ œ œ œ œ œœ œœ
œœœ œ œœœ œ
j ¿ ¿ Œ ‰ ¿j ¿ ¿ Œ ‰ ¿j (rhythm continues)
(Tambourine)

™™ ™
¿ j
œ œ™ œ œ œ œ œ œ™ œ™
4
?4 j j j j
Electric Bass
œ œ œ™ œ œ

œœJ™ œœ
To Coda Ø
j j j
6

& œj œ œ œ™ œ œ ŒÓ
œœ œ œœœJ œ
œ œ œ
J œ ˙ ‰ jœ œ œ
œ œ
used to know? How could you lose that hap - py glow, oh Ca -ro - line,
used to say, you'd ne -ver change but that's not true, oh Ca -ro - line,
so much then? Could we e - ver bring 'em, back once they have gone?

{ & œœœ œ œœœ œ œœ œ œ œ œœœ œœœ œœœ œ œœœ œ œœœ œ œœœ

œ œ œ œ œ œ bœ œ œ œ œ
œœ œœ œœœ œœœ œœ œ œœ œ
j j
œ œ™ œ œ™ œ™
? œ™ œ œ œ œ j j j
œ œ œ œ œ™ œ œ œ

j œj
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10
‰ œ œ
& œ œ™ œ œ
Œ J J œ œ
no.

™™ œ œ œ œ œœ œ œœ œ
you break my heart I wan - na go and cry; it's so

{ & œœœ
œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
œ œ œ
? j ™™ œ ™ œ œ™
j
œ œ œ
œ™ œ œ œ J œ œ

œ œ œ œ œ™ œ™
13
œ œ™ œ œ œ™
D.S. al Coda
& J œ œ ‰ j J ‰
J J œ œ œ
sad to watch a sweet thing die, oh Ca - ro - line why?

{ & œœ œ œœ œ œœ #œ œœ œ
œ œ nœ œ œ œœ œ œœ œ œ bœ œ œ œ œ œ œ
œ œ œ œ œ œ
? Ϫ j
œ œ bœ ™
œ j j
œ™ œ œ œ œ œ œ

œ œ™ œ™
repeat instrumental
œ
œ œ œ œ œ
16 Ø Coda verse and fade

& w Ó ‰ J
J
Oh Ca - ro - line, no.

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 Wonderful
Van Dyke Parks Brian Wilson

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She be - longs there left with her li - ber - ty, ne - ver known as a non - be - lie - ver, she
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sigh and thank God for won - won -won - won - der - ful.

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ga - ther the fo - rest when God reached soft - ly and moved her bo - dy one
lost in the mys - te - ry lost it all to a non - be - lie - ver and

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gol - den loc - ket quite young and lo - ving her mo - ther and fa - ther.
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 Surf's Up (Part I)
Van Dyke Parks Brian Wilson

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The dia - mond neck -lace played the pawn, hand in hand some drummed a - long wo
Hung vel - vet o - ver - ta - ken me, dim chan - de - lier a - wa - ken me
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to a hand -some man and ba - ton. A blind class a - ris -to - cra - cy back through the o -pera class you see
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Can -vas the town and brush the back - drop, are you slee - ping?

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Can -vas the town and brush the back - drop, are you slee - ping, Bro -ther John?
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