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Sergeant Peppers Lonely Hearts Club Band

Shes Leaving Home


Key centred around E major but many piano scores write it in E flat major
Song is in 3/4 time and has Pop and Classical Features
It tells the story of a runaway teenager
It is a contrast to the other songs on the album
It is the only Beatles song not recorded by George Martin, instead it was arranged by Mike Leander
There is an unusual Harmony I v ii7 IV 3 vi7 II V7
Added notes to chorus 7
th
, 9
th
, 11
th

There is an unequal phrase length and subtle syncopation
There are many examples of word
paintings e.g. downstairs
Instruments:
String Nonet
4 violins
2 Violas
2 Cellos
1 Double Bass
1 Harp
Introduction (bars 1 4):
4 bars on panned Harp ( Arpeggios)
Homophonic texture
Contrast to previous track.
Two bar repeated Melody with broken chord accompaniment based on tonic
Verse 1 (Bars 5 36):
Voice and Harp
Cello countermelody (Bars 10 12)
From: ABAB each phrase gets a different accompaniment
Word Painting: Down stairs descending violin melody
Bar 5 (Phrase A): 8 Bars with repeated block quaver chords on each beat
B minor chord in bar 6 ( Leading note D natural)
SECTION BAR FORM
Introduction 1-4
Verse 1 5- 36 ABAB
Chorus 1 37 - 55 CD
Verse 2 56 - 87 ABAB
Chorus 2 88 - 106 CD
Verse 3 107 122 AB
Chorus 3 123 - 134 C
Coda 1- 4 135 - 140 DE
F sharp chord in Bar 11
Bar 13 (Phrase B): 8 Bar solo vocal with Harp chords and sustained upper Strings
Only the dominant chord (B) with added notes used
Syncopated rhythm of quaver to crotchet on strings (Bars 16 &20)
Bar 21 (Phrase A): Some rhythmic changes in vocal line
Double Bass joins with a descending line to portray going down stairs
Descending violin in contrary motion to Cello
Bar 13 (Phrase B) Some rhythmic changes in vocal line to fit new words
Richer string sounds with low strings added this time
Chorus 1 (Bars 37 55):
8 Bars with 2 part vocal counterpoint with string accompaniment
Sustained high pitch narration ( Paul ) and lower commentary of parents ( John )
Only tonic used to harmonise (No Harp)
Mainly 1 chord for 13 bars with an Indian influence here
Harp re-enters in Bar 47 and chord changes to the dominant
Verse 2 (Bars 56 87):
Similar to Verse 1 but subtle differences in accompaniment ( Strings first then Harp)
Cello has a walking bass line
Homophonic texture
Word Painting: Mother sobbing with a violin countermelody only time triplets are used in the song
Bar 56 ( Phrase A) Sustained strings from the start and 4 bars of rising Cello arpeggio type figures
Bar 64 (Phrase B): Sustained accompaniment and harp chords
Bar 72 (Phrase A): Syncopated Rhythm in G sharp on violin (sobbing)
Five beats repeated
Bars 80 (Phrase B): No syncopated accompaniment this time
Chorus 2 (Bars 88 106):
Similar to chorus 1 but with changes to accompaniment
Middle texture now richer
Uncertainty in phrase length may mirror the daughters uncertain future
12 Bars as before but more active chord pattern on inner strings
Verse 3 (Bars 107 122):
Shorter than other verses (Only 16 Bars)
Word Painting: Use of Tremolo strings to show the daughters excitement at her prospective meeting
Quaver movement to portray the man in the motor trade
Bar 112: Richer counterpoint
Chorus 3 (Bars 123 134):
String parts more animated ( Violins play a repeated rhythm pattern)
Final chorus uses 20 bars instead of 19 (sense of resolution )
Accompaniment calms down towards the end of the chorus (mainly dotted minims in upper parts )
Upper Strings: play tonic chord notes
8 Bars of two part counterpoint over sustained chordal accompaniment
Coda (Bars 135 140): Return to similar arpeggio figure found in the beginning
Shorter than opening introduction

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