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Analysis of the Beatles Music

Arguably, the song “Please Please Me” by beetle shows the proper way of writing a hip-

hop song in the sixties. In essence, this piece of music had all the ingredients that demanded the

attention of its fanatics and listeners (Hertsgaard, pg6). The music had an elaborate and riff

introduction that naturally sticks in the head, fascinating and eye catching title, and enough

breaks that enable the listeners to examine the tone, focal points, and key message of the song. In

addition, this music was inspiring with a dramatic ending that leaves one desire for more, as well

as, gets the feeling of satisfaction. According to Lennon, this music was composed to be on the

hit parade.

The song was composed in the standard style that is evident in most of the bands catalog.

In essence, this style encompasses verse/verse/bridge/verse. Moreover, the band opted not to

include solo of any kind in the song (Lennon, pg15). Moreover, they did not include repetitions

of the final verse or the bridge common in their songs. This is because they understood that this

style could have created an ineffective and prolonged mood. In essence, this could have extended

the two and a half tenet for the pop song in the early 60s.

Notably, the start of the song is characterized by the four bar introduction that debuts

their exceptional riff played by the legendary John on harmonica, while guitar played by George.

The beetle are the songwriter and they did this song well by arranging their introduction on their

original song (Everett, pg12). This can be attributable by the fact that Harrison played the riff

repeatedly during the rehearsal of this song.

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The first verse of the song has sixteen bars and the melody starts with the opening riff

that is harmonized by Paul and john. Paul plays a critical role in raising the harmony note higher

throughout the phrase, while john maintains the true melody line. The melodic phrase is repeated

severally before the song goes into a break dramatically (Hertsgaard, pg16). This dramatic break

introduces the new guitar riff that sequences the anticipatory ‘come on’ answer question part of

the verse.

Essentially, John sings the question phrase while George and Paul answer the question

with harmony. Notably, there are climaxes at the end of the title of the song that acts as the true

hook line (Lennon, pg16). Again, we hear the guitar riff and the harmonica that sets the stage for

the second verse. The second verse of the song repeats the same identical musical structure with

breaks that are not expected, which are filled with Ringo.

The drum are essential in representing the sequence to the 10 bar bridge; moreover, the

drum is played by Andy. On the third bar, we see the partial reprise of the structure of the verse

at the end of each bridge. In essence, every bridge starts with “you, oh year, why do you make me

blue,” which imitate the melody line of “please me, oh year, like I please you.” (Lennon, pg14)

Notably, each of these phrases could be used interchangeably.

Moreover, the bridge in the song does not go to any unfamiliar territory with their chord

arrangement. This is because the chords could be heard three times as the verses are sung

repeatedly. The interest lies in the swift eighth note that is prominently used throughout the

bridge (Lennon). Notably, this proposes the urgency that creates a counterpoint to the verse

catchy and simple melodious lines. The last verse of the song repeats the first, except for

conclusion part that ends with “please please me.” (Lennon, pg5) This part repeats the phrase
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three times to create the emphasis. Essentially, the last line of the verse clearly combines the first

word of the repeated last line. This makes the last line as “like I please please me.”

Notably, the lyrics of the song were written as if the singer is connecting the personal life

and experience between himself and his girl. The indication that it is the opening line is the

repeated phrase “Last night I said these words t my love.” (Lennon, pg10). The other part of the

lyrics sounds as if the he is speaking to the girl. Curiously, the change in the guitar riff at the end

f the bridge is the only note; noticeably, the notes are played differently than the harmonic

common when they play in unison.

Blue Jay Way by the Beetle

Arguably, the style of this song is derived from the Indian music, with comparison such

as Within You without You.” The exotic influence of the son is less direct since there is use of

drone bass, making it sound like raga tuned (Hertsgaard, pg12). There are no metrical fireworks,

Indian instruments, and fancy rhythm as explicit in the Indian songs. The form of the song is a

folk ballad, which makes it develop a close comparison with “The foot on the hill.” Notably,

“blue jay way” pursues the plodding monotony with a mode that in unusually high.

The refrain melody has the Indian flavor that is expected on the introduction of their

sound track (Sheff, pg5). Essentially, this proffers the completion of the melodic arch that begins

the start of the verse. In addition, this conveys the unusual pathos by the virtue f the fact that they

stress on the bass line drone.

The arrangement of the song is veritable mix of effects and special recordings used by the

beetles throughout their songs. Moreover, the texture of the lyrics does increase the intensity and

thickness on the course of the piece (Sheff, pg5). Moreover, the foggy texture and atmosphere
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with an introduction that played in libitum, which means without a meter. However, the terms in

the duration are measures 8 long or less the same length of the verse of refrain.

The introduction of the song is layered to the atypical of the standard beetle songs. The

organ in the song is a single octave of C natural, while the next bass line is filled with the lower

octave (Hertsgaard, pg17). The verses of the song are a bit shy of the eight full measures

providing a gesture that shows signs of impatience of waiting longer than they should think.

“She’s leaving home” by Beatle

Notably, this is among few of the songs by the Beatle that they themselves did not play

musical instruments (Everett, pg2). In this, Pau leads vocals, as well as, backing the vocals,

Lennon sang the vocals, and Erich Gruenberg, Trevor Williams, and Derek Jacobs playing

violin. However, the band hired the instrumentalists. The song starts by the sound of a harp that

seemingly mimics the tentativeness and tiptoeing. There is an apprehensive and uneasy feel in

the notes with the lyrics “Wednesday morning begins at 5 o’clock as the day begins,”

(Hertsgaard, pg5) sung in melodramatic manner. The harp is heard in the background with the

fainting and echoing classic music.

Notably, the Beatles are not strangers to the classic music. However, their harp seems too

overt that leads the listeners back to the classical conventions. The music and the lyrics sound

like they are in minor tone that emphasizes the concept of sadness (Lennon, pg3). The harp is

plucked delicately thus evoking different era; moreover, they are joined by the violin evoking

deep sadness. However, the last two verses of the song are sung in an angelic voice that is

mocking that informs the listener that the daughter is leaving the room. The violins are heard

playing on the background

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Work cited

Everett, W. The beatle as Musicans. Oxford: Oxford University Press, 2009.

Hertsgaard, M. A day in the life: The music and artistry of the Beatle. London: Macmillan, 2010.

Lennon, John and Paul McCartney. "Lennon, John and Paul McCartney. “She’s Leaving Home –

The Beatles Digital Sheet Music.” Musicnotes.com. Musicnotes.com, n.d. “She’s

Leaving Home ." 21 09 2010. The Beatles Digital. 22 04 2014

http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0061861>.

Sheff, D., & Golson, G. B. The Playboy interviews with John Lennon and Yoko Ono. New York:

Penguin Group, 2002.