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"Any Time at All" is a song by the English rock band the Beatles. Credited to the Lennon–McCartney partnership, it was mainly composed by John Lennon, with an instrumental middle eight by Paul McCartney. [2] It first appeared on the Beatles' A Hard Day's Night album.
"You Can't Do That" was recorded on Tuesday, 25 February 1964, in EMI Studios in London. [11] An early take with a guide vocal is included on Anthology 1. [12] It was the first song completed in the week before the Beatles began filming A Hard Day's Night, though "I Should Have Known Better" and "And I Love Her" were also started on the same day.
Influenced somewhat by the Shirelles, [3] "When I Get Home" is essentially a rock and roll number, but with unusual chord progressions. Lennon liked this particular ploy, and used it on many of his songs at the time. Typical also of this period of the Beatles is the vocal leap into falsetto.
George Harrison in 1974. George Harrison (1943–2001) was an English musician who gained international fame as the lead guitarist of the Beatles.With his songwriting contributions limited by the dominance of John Lennon and Paul McCartney, Harrison was the first member of the Beatles to release a solo album. [1]
The Beatles recorded "I Don't Want to Spoil the Party" on 29 September 1964 in 19 takes, the last of which was released. [7] George Harrison's guitar solo, played on his new Gretsch Tennessean in the style of Carl Perkins, [6] was enhanced by midrange resonance boost, giving it an especially bright sound. [8]
"Tell Me What You See" is a song by the English rock band the Beatles that first appeared in 1965 on their album Help! in the United Kingdom and on Beatles VI in the United States. The song is credited to Lennon–McCartney but mainly written by Paul McCartney. Regarding the song's authorship, McCartney said, "I seem to remember it as mine.
[4] The actual meaning of the term "Aeolian cadence" is that a major key song resolves on the vi chord, which is the tonic chord of the relative minor key (the Mahler ends on the major tonic with an "added 6th," not on a VI chord.) The term derives from the fact that the Aeolian mode is rooted on the sixth step of the major scale.
The unusual chord progression is an example of the Beatles' use of chords for added harmonic expression, [28] a device that Harrison adopted from Lennon's approach to melody. [29] Musicologist Walter Everett describes the composition as "a tour de force of altered scale degrees". He adds that, such is the ambiguity throughout, "its tonal ...