#1
Hi,

Can someone analyze that song? What are the scales or chords, etc used in this song? I tried and seems that Lennons voice changes notes depending on the chords being played.
#2
Lennons voice changes notes depending on the chords being played.

It's a mystery, he was a genius.
#5
Quote by WhenStarsDie
Yeah, he was a genius. But...you know, i want some answers.


The point is -

Do some work yourself.

If you really want to understand what's going on in any complex, well-written song you need to put in some time. Even a highly academic analysis like, I dunno, these ones:

http://www.icce.rug.nl/%7Esoundscapes/DATABASES/AWP/triple.shtml

http://www.icce.rug.nl/%7Esoundscapes/DATABASES/AWP/sff.shtml

- are not going to do you any good if you don't understand the basics of songwriting and music theory.

And it appears that you don't know the basics, because your question about Lennon's voice changing notes either demonstrates exceptional laziness (you didn't think about what you wrote at all) or a complete lack of understanding of melody. So I think Alan's notes are going to be way over your head.

There are no shortcuts in music. Your question sounds, to those of us who know something about music, a lot like somebody saying:

"Can somebody explain to me how a rocket works. I mean, I know it has something to do with Newton's law of gravity - what goes up must come down, right?"
#6
Quote by _LoveFuzz_
Lennons voice changes notes depending on the chords being played.
It's a mystery, he was a genius.




best post ever.
#DTWD
#7
Quote by HotspurJr
The point is -

Do some work yourself.

If you really want to understand what's going on in any complex, well-written song you need to put in some time. Even a highly academic analysis like, I dunno, these ones:

http://www.icce.rug.nl/%7Esoundscapes/DATABASES/AWP/triple.shtml

http://www.icce.rug.nl/%7Esoundscapes/DATABASES/AWP/sff.shtml

- are not going to do you any good if you don't understand the basics of songwriting and music theory.

And it appears that you don't know the basics, because your question about Lennon's voice changing notes either demonstrates exceptional laziness (you didn't think about what you wrote at all) or a complete lack of understanding of melody. So I think Alan's notes are going to be way over your head.

There are no shortcuts in music. Your question sounds, to those of us who know something about music, a lot like somebody saying:

"Can somebody explain to me how a rocket works. I mean, I know it has something to do with Newton's law of gravity - what goes up must come down, right?"


Thanks for the response. Actually, I knew a little about music. I know about how to build chords, scales, something about modes, intervals, for example. And actually I DID try to analyze the song by myself. I had some clues about what was going on the song, but as I stated before, Im not that advanced in music theory (im studying music for that reason actually) So I made this post to see if my thoughts about the song were correct. Thanks for the links anyway.
#8
Quote by WhenStarsDie
seems that Lennons voice changes notes depending on the chords being played.

He hits chord tones.
#9
Quote by WhenStarsDie
Hi,

Can someone analyze that song? What are the scales or chords, etc used in this song? I tried and seems that Lennons voice changes notes depending on the chords being played.

Do it yourself?
BTW: If you analyze a song to know what scale to play when, then your aim should be at what are the key changes and what scales could I use over that?
If you want to know which style the particular artist is in, you look for how something is played, such as if there are any particular adds that he liked or if he uses suspensions also the key matters in this but more as in what quality does he play in more often?
#10
Quote by liampje
Do it yourself?
BTW: If you analyze a song to know what scale to play when, then your aim should be at what are the key changes and what scales could I use over that?
If you want to know which style the particular artist is in, you look for how something is played, such as if there are any particular adds that he liked or if he uses suspensions also the key matters in this but more as in what quality does he play in more often?


I dont want to know what scales I can play at the song, not exactly. I want to know why Lennon sings that melody over those chords. Over these chords, the voice goes like this ( i think ) :

B flat
Let me take you down , coz Im going to...
D D D# D Bb F G C/Bb G#

F minor:
Straw- be - rry fields
G# Bb C F

Dº dism
No - thing - is - real
G# Bb ->B<- F

Why a B on a Dº chord?
#11
Quote by WhenStarsDie
I dont want to know what scales I can play at the song, not exactly. I want to know why Lennon sings that melody over those chords. Over these chords, the voice goes like this ( i think ) :

B flat
Let me take you down , coz Im going to...
D D D# D Bb F G C/Bb G#

F minor:
Straw- be - rry fields
G# Bb C F

Dº dism
No - thing - is - real
G# Bb ->B<- F

Why a B on a Dº chord?

Music is a free art, so you can do whatever you want.
If he sang a B over Daug then that was his choice.
Maybe he wanted to get the interval of a tritone B to F?
Or maybe he just liked the sound of it.
#12
Quote by WhenStarsDie
Hi,

Can someone analyze that song? What are the scales or chords, etc used in this song? I tried and seems that Lennons voice changes notes depending on the chords being played.


well yeah, all music does this. Melodies share a relevant relationship with the chords that support them.
shred is gaudy music
#13
Quote by liampje
Music is a free art, so you can do whatever you want.
If he sang a B over Daug then that was his choice.
Maybe he wanted to get the interval of a tritone B to F?
Or maybe he just liked the sound of it.


Of course I understand if he did that just because he wanted to. But If theres a reason (musically speaking) Id like to know
#14
When people provide links in a thread to answer you question, maybe you should try clicking on them.
#15
Quote by WhenStarsDie
Thanks for the response. Actually, I knew a little about music. I know about how to build chords, scales, something about modes, intervals, for example. And actually I DID try to analyze the song by myself. I had some clues about what was going on the song, but as I stated before, Im not that advanced in music theory (im studying music for that reason actually) So I made this post to see if my thoughts about the song were correct. Thanks for the links anyway.


I saw your post, why the combination of #'s and b's in your melodic analysis?

Best,

Sean
Last edited by Sean0913 at Dec 7, 2011,
#16
The songs opens with an example of Chromatic Elaboration of Static Harmony (CESH)
The harmony stays the same while the bass note just descends chromatically. Halfway through the second measure this is broken up as bass note is held for a whole note and the harmony starts takes over the role of providing movement. It follows the same downward trend set by the bass. When the bass comes back it continues it's descent. this time with some whole steps thrown in.

The whole intro provides a strong steady downward movement. Then in classic Beatles style the lyrical message mirror the musical message "Let me take you down..."

These lyrics are sung over the Bb chord we have worked our way down to. "take you down" quite literally takes us down Eb D Bb.

The Eb is a P4 above the Bb root and pulls away from it. This pull away from the root sets up the nice little drop which starts with the semitone move from the P4 back to the M3 chord tone D. After the strong use of half step descent in the intro we are primed for this half step Eb to D. This familiarity with the half step increases the impact of the major third from D to land on Bb root.

Bb
Let me take you down
 D  D   Eb   D   Bb


Then he wants to do a similar three note descending line but this time targeting a chord tone (Ab) of the next chord (Fm7). To achieve this he has to go from C Bb A. But to give the C a similar lift he starts the line low on F (chord tone in the Bb) goes up stepwise to G. This enables him a P4 leap to the C note setting up a diatonic descent down to Bb. You have been set up at this point to feel conflict. You want to move down to finish the line but you also just hit the root note of the chord so feel like there isn't really anywhere to go. He prolongs this conflicting expectation by holding the note just slightly which makes the inevitable downward step fall right on the chord change to Fm7 (v) allowing a perfect resolution of the conflicting expectations we were experiencing.

Bb                Fm7
cause I'm go-ing   to
  F   G   C  Bb   A


When I do this^ though I keep feeling like I'm just deconstructing something inherently beautiful . I can't help feeling that doing so misses the point completely. Does that make any sense to anyone?

Haha I also get the feeling when I do this kind of detailed breakdown that I'm just talking shit. But I guess at the end of the day that's what music theory is and maybe if I remember that then I will never run the risk of putting music theory before the music.

Anyway I could keep talking shit and go through the whole song but that'd take hours that I don't have.

Peace
Si
Last edited by 20Tigers at Dec 7, 2011,
#17
chorus:
[C]Let me take you down 'cos I'm going [Gm7]to Strawberry [Gm]Fields [Gm7]
[A7]Nothing is real
And [F]nothing to get [A7]hung about
[F]Strawberry Fields [C]Forever


starts with "C mixolydian mode" For the C and Gm7 ( I to Vm7 )

secondary dominant with the A7 (V7 of II7 ) moving to and from IV
(Moving between A mixolyidan ( or A lydian dominant ) and F lydian seems appropriate here.)

ending with a plagal cadence IV-I i.e F to C (c major)

verse :
G]Living is [GM7]easy with [G7]eyes closed [G7sus2] [Fdim]
[Am]Misunder[Am7]standing all you [F]see
[F]It's getting [G]hard to be some[C]one but it [Em7]all works [Am]out [G]
[F]It doesn't [G]matter much to [F]me [C]

the run from G could be seen as
V- Vmaj7 - V7
then to bVII diminished (F,Ab,B,D) which would suggest the b9,3,5,and b7 of E7b9

which would be the V7b9 chord of Am
so the Fdim to Am movement could suggest a perfect cadence in A minor V-I
Last edited by ibanez1511 at Dec 8, 2011,