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