The Beatles' Ultimate Chord Lesson
ฝัง
- เผยแพร่เมื่อ 28 ก.ย. 2024
- In today's livestream I break down the most interesting blend of diatonic and borrowed chord harmony by The Beatles.
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What guitar is this acoustic
What acoustic guitar is rick using here
@@albietzaesthetics1064
19:04
Gibson country western (1960's), he probably has talked about his guitar in some of his room tour videos (where he shows all his instruments and stuff)@@albietzaesthetics1064
Why isn’t the arpeggios course included? I’d like a discount of that.
I've loved the Beatles for 20 years but every time I see a theory video about their songwriting techniques or chord changes or anything like that, I gain even more respect and appreciation for their genius. There are so many amazing bands out there but almost without a doubt The Beatles are the most pivotal and impactful on modern music and really took things to new heights that no other band will ever be able to achieve. They hit the peak of songwriting from the first album and basically stayed there for their entire music career.
Facts
Well said
Especially Mr. Lennnon.
My guitar teacher had a Masters in music and worshipped The Beatles.
I've, like you been a Beatles fan since I was a kid, I'm now 70 and Rick has shown me just how brilliant they were. Familiarity does breed contempt and indeed it does.
Also "here there and everywhere " is stunning in modulation and tonality changes
Rick, this is the ultimate channel for musicians. Your content is going to outlive you by, who knows, maybe centuries. You're a model for how to be a music educator. Thank you so much for all the hard work you've put into the channel.
Well said!
Simply put..the Beatles were the best song writers ever.
Rick, speaking about the Beatles I do hope you get Paul McCartney and Ringo Starr for interviews.
Yesssss!
I second the motion.
Ditto you’d do a great job!
Yes, yes....a great idea!!!
It's settled then.
Quincy Jones called the Beatles "the worst musicians". Man, I'd give almost anything to be as bad of a musician as the Beatles.
Yes, Quincy Jones did make critical comments about the Beatles' musicianship in an interview with Vulture in 2018. He referred to them as "the worst musicians in the world" and shared an anecdote about how a session drummer had to be brought in because Ringo Starr couldn't get the beat right. However, Jones later apologized for his remarks, acknowledging that his comments were inappropriate and a result of his advancing age and the candid nature of the interview.
@@darrylmendonsa8922and he was a drunk
@@jasonicnyc
That sounds about right
@@darrylmendonsa8922We can also say that the Beatles were genius song writers and amazing harmonizers, changed the world musically and even politically ….but were less good at interpreting, especially live. Just gotta love them though.
@@bsharporbflat8378 I agree with what you say, but I would just add that the Beatles were excellent at interpretation. Paul said Sargeant Pepper was the band stepping out of themselves and being influencing by what they had done musically.
What can you say? It's magic. That's the only possible explanation. As far as I know, Lennon never had a lick of music lessons in his life, except maybe the stuff everybody took in school. All those sophisticated concepts discussed in this vid just came naturally to him. That, plus his voice, his looks, his intelligence and wit, on and on. And the same applies to all 4 of them in varying degrees. Now that really is magic.
He was taught banjo chords by his mom, and the occasional chords from random people across town, but no formal training, but he had great ears and listened to a great many songs from Motown, and others.
Man. What with all these amazing interviews it’s easy to forget what a fabulous musician Rick is. Your perfect pitch and musical knowledge just blows my mind! That sudden switch into the bossa nova track was awesome!
I'm still waiting for the pinnacle interview with Sir Paul! I really hope this happens for us all! Keep up the GREAT work Rick!😎🤙
This song captivated me when I bought home the album Something New; listened to it over and over trying to hit each vocal note and always missing; it's still one of my fave Beatles tunes; it is an awesome display of John and Paul's vocal harmony.
Congrats, Rick; we love you!
A perfect mix of sophistication and viscerality
Lennon was only 24 in 1964 when he wrote this. These guys were geniuses. Just amazing
He was 23 through most of 64, then 24 from 9 October.
@@chrishyde1216 This is definitely ADVANCED Harmony stuff they were doing, for sure. :)
@@davidjohnson1654 He couldn't sing the melody and gave it to Paul to sing while John came up with the harmonizing vocals.
@@ktcarl - yeah it was too high for him so he graciously handed over NW to Paul to sing it and even his voice cracks on the word “chair” . 🤗
Likely George Martin contributed to the arrangement.
Thank you. This really shows the harmonic genius and masterful songwriting of the Beatles. It's cool how the bass line descends to go along with the lyrics "if I fell...".
The chords played arpeggio style, would make a great acoustic guitar tune in its own without vocals. They are beautiful chords. My personal opinion is that the Beatles wrote this stuff simply because it sounded cool. Not so much that John or Paul "knew" all this stuff. It just sounded right.
One of my favorite songs! It seems the early Beatles love songs tend to have that Bosa Nova feel!
I guess when they played their 6 hour gigs in Hamburg they frequently threw in a few Bossa Novas. The dancers have an opportunity to get a little touchy, the band can relax for a moment while playing, and afaik Bossa Nova was pretty popular in the late 50s, early 60s. It would be natural to try writing in that familiar style for a mellow love song then.
It would have been a hip thing to do at the time. I love how Ringo rock-and-roll-ifies it.
You never leave beatles music behind, always go back to it
Now you got me deep diving into this song. Isolated tracks and such. What a magnificent song!
It's a beautiful song. An underappreciated early Beatles effort. Liked it immediately upon first hearing. I would add And I Love Her to the list.
One of my favorites from The Fab Four; great harmonies and fun Bridge & turnarounds. This one, and "I Will". The 'seesaw' between major & minor = signature Paul.
Nice to see you playing Tom Jobim and happy to know that Wave was your father's favorite song. Greetings from Brazil!
Thank you so much Rick ! I’ve been performing both “ If I Fell” and “Corcovado” I’m my vocal groups for over 30 years ( always with a pro band) … but am just now ( since Covid lockdowns that is) learning to play these tunes on my own guitar . I too love this “chord science” and the great breakdowns you do ! Cheers !
A hard day's night is the best film by any band.
The Monkees' Head is pretty damn great too.
Slade in Flame is good.
Better than All You Need Is Cash by The Rutles?
@@stevemawer848 Yes!
Even Tenacious D and the Pick of Destiny?
Just got back from a trip to Liverpool for the first time in 35 years ago. The Beatles legacy has been a big part of the city’s modern revitalisation after some years of being seen as an underdog city during the deindustrialisation of UK. It’s interesting that in the 80’s there’s was little overt evidence of the Beatles coming from there. It seems the interest in the City was renewed about the time of anthology releases in the 90’s. Most surprising is the age of people heading to the Cavern Club and other landmarks associated with the Beatles. Grandchildren of original Beatles fans now showing interest.
When this video popped up I was hoping this was the song. It's one of the most beautiful melodies I know. Many years ago, when I became a dad, I suddenly discovered that this was the song I hummed our baby to sleep.
check out rockabye baby..they made songs into instrumental lullabys and " if I fel"
l is one of them
I love when I guess the song before you announce it from the description. What a masterpiece song. Chord changes up the wazzoo, but still flows perfectly. Real genius.
You’re so cool !
This was a great video. "If I Fell" was my dad's favorite Beatles song, and a top ten one for me too. Similar to your dad, he had a lot of jazz guitar albums. I think Barney Kessel was his favorite, but also Johnny Smith, Wes Montgomery, Charlie Christian, and others, and he had albums by Dave Brubeck and Stan Getz as well. People don't realize that the early 60's had a wide variety of music, and rock n' roll and improv jazz were co-mingling a little bit, rock bands would play some jazzy numbers to show they were competent musicians, or if you had to play a club versus a dive bar.
I think he recognized the improv jazziness of that song, because we would have guitar sing along night with the family sometimes on a Saturday night when we were kids. "Quiet Nights of Quiet Stars" is one of the songs he'd play and my mom would sing it. He'd want me to play "If I Fell".
It's important to have that diminished chord in there. It's a good lesson of how to do a minimum of finger movement while changing chords and finding the right frets on a guitar to play that song.
When you were doing the arpeggiated chords, it really dawned on me that this would have been a great song for a Joe Pass or Barney Kessel to mess around with on a record, perhaps it wasn't quite popular enough? There is a video on YT of Henry Mancini playing it in 1965 at a celebration of Beatles music. It can clearly work as "Casablanca" type lounge jazz.
It's an increasingly huge pet peeve of mine when people impulsively credit George Martin with ANY sophistication heard in a Beatles song. He talked quite openly about what his contributions were, and I can't recall him ever mentioning reharrning their songs to be more sophisticated. If anything, the opposite, like when they stood their ground to end She Loves You on a major 6th chord, which Martin found "corny." They were right, and he was wrong.
When is Ringo or Paul going to be here for an interview with you Rick?
BOTH 🎉
Frank, Jay and I used to do this song, and "This Boy," as our Beatles' Ballads in our old "Mellow" band in the 70's. Frank and I revisited it at a karaoke bar a few years back and brought the house down.
The song is on the album HARD DAYS NIGHT, RECORDED IN early1964. They are shown miming to it in the film so it certainly predates 1965.
February 64.
I just don’t think John was thinking of core progressions and modulations as you explain it when he wrote this song as a singer and song of myself he probably just wrote it. It just came from him. That’s the magic has Bob Dylan said he doesn’t know why or how he wrote what he wrote it just happened. It’s the magic.
Rick's singing is getting better🎉
Keep it up😊👍
Rick, a few thoughts... The Beatles stints in Hamburg were hugely important in their development. They had to play a variety of dance numbers, including cha-cha and other South American styles that were popular, as well as slow songs and rockers. I swear that's where they picked up cool chord progressions and changes that carried into their own songs when they started writing great songs (like "If I Fell"). Second, John definitely played easier-to-play versions of the chords you were using - another great trick a good bar band learns to do. Third, this is one of the few Beatles songs where the main writer of the song sings the harmony lines. If you listen to the demo tape, John was writing and singing the melody in a lower key. When they brought the key up (for marketability, I assume, as it plays faster), John's voice wouldn't reach the melody, so Paul sang melody and John sang the lower harmony (and then unison on lines like "I must be sure," and "Would love me more..."). Just a few years later that incredible collaboration started to fall apart (drug use, Maharishi, drug addiction and Yoko) and though they made great music the incredible bond was gone.
Grow up and stop blaming Yoko. None of the Beatles blame Yoko, but you do.
On the mono version Paul’s voice doesn’t crack on the last note of the bridge.
The richness of Jobim’s harmonies… Amazing!
Antonio Jobim: Star student of Master Conductor of the Austrian National Symphony Orchestra. Magna Cum Lauder (Máximos Honores)
I've always felt this was John doing a "hold my beer" to Paul when Paul started getting all uppity with songs like "And I Love Her". Also, behind all of Rick's fancy breakdown is that John was in love with chromatic progressions. They show up in all of his more wacky compositions like "I Am The Walrus" and "Strawberry Fields Forever". I always picture him moving chromatically up and down the neck of his acoustic, and just playing with the fingering until he heard something he liked. He definitely could not tell you what all these chords are that Rick is writing down -- he just knew he liked how they sounded relative to each other. George Martin might have helped out with some of the changes.
How do you know that he did not know the chords and music theory in general? Of course he did. Do you think they just wrote all these cool songs by accident?
I can't harmonise at all when singing, except on this song. It's a fabulous song.
Favorite Beatles harmony song.
I'm a huge Beatles fan who fell in love with an instrumental version of Wave in the early 80s. The music of Antonio Carlos Jobim is absolutely captivating.
The vocals, though! This duet is absolute perfection, and terrific to sing. Alas, not for me any more as my vocal range flew up the chimney some time ago. Well... I could probably manage Lennon's part still.
When you played that Wave song it immediately took me back in time when I was young! I haven't heard that in song long and didn't know it was still in my memories. Thank you!
Now that I’m in my 30’s I appreciate The Beatles songwriting much more, especially their deeper cuts.
And the most amazing thing is, john would have just writen this song without thinking about modulations and key changes, he just had it man, the best do, even ive come to realise that the best work you do is the stuff you dont analize or think about to much.....
From Beatles to Jobim! Only you, Rick. Bravo!
Two Italian guys on beatles vocal harmony go through the vocal parts on this song thel lower tone sounds a bit bland but when the two join together it brings such joy. The Beatles were so phenomenally creative.
Hey Rick, I love your Beatles stuff ! Been with you since before 1million suns
As a kid, I LOVED this son. This shows the chasm between the Beatles and the flood of bands, at the time. It may very well not even have been intentional. Just intuitive.
Malcolm Gladwell said, how the Beatles did what they did without any musical training is one of the great artistic mysteries of the twentieth century. I don’t think anyone can disagree, what they accomplished is astounding.
George Martin was classically trained and although uncredited as a song writer probably helped them fine tune everything with his theory knowledge.
@@zaphodrahjaI don't disagree
Definitely divinely inspired!
They obviously had Help! they were the first manufactured boy band. Similar to the Beach boys, you had a touring group, and you had someone or a group of people writing the songs. I have a hard time believing they toured as much as they did, and had time to write.
@@firstthessalonian6889 CORRECT: "George Martin was classically trained and although uncredited as a song writer probably helped them fine tune..." INCORRECT: "you had a touring group, and you had someone or a group of people writing the songs..." aha haha haha ha although I do give you credit for trolling - haha.
Rick: Another pop song that uses unusual diminished chord leading into the 2m chord is in "Till There Was You", from the Music Man, ironically, also recorded by The Beatles.
And the fact that they did all of this without knowing music theory or how to read or write music is just mind blowing.
This is probably my favorite Beatles song, or at least in the top
Five, anyway this song has everything. That tritone substitute “D”, the key change to UP to “D” the harmony of 6ths in the verse, not standard 3rds or even just stacked triads, the bridge that goes to 3rd harmonies and Major to minor chords,in under three minutes… when people crap on the early Beatles, I know they haven’t heard this and only have heard the “hits”… top twenty stuff which is great stuff, but this is incredible,genius stuff, deep cut that you had to listen to the album to know…
I like the fact that they didn't get all the harmonies just perfect. It's about falling in love and how much it could hurt if it fails.
Hey Rick! I was speaking with a friend this evening and we were talking about Willie Nelson. I would love to see you interview him, or a least talk about his songwriting structure. Some of his older tunes are incredibly well written.
If I Fell is my No. 1 song by The Beatles. The play with the words "two, to, and too"is brilliant.
Ok, but not too
@@---wd3hp: If I love you "too", oh, please Don't hurt my pride like her
And that she will cry When she learns we are "two"
So, I hope you see that I Would love "to" love you
Check, please...
Rick, Your Great!! This Video reminded me of when I would meet one of my Buddies up at The Texan restaurant coffee bar. This would be around 11:00 pm after I left my Girl friends house and we would talk chords and structure 2-3 hrs. RIP Smoky 🙏🏻
Practicing the arpeggios over each chord is excellent practice and leads to some nice improv over time. Do this over Giant Steps and watch what happens! Opens up so new ideas.
In recent interviews, Paul has claimed that he wrote the Intro to 'If I Fell" as an attempt to write an introductory "refrain" in the style of songs of the thirties and forties. He agreed that John had written the main part of the song - and it sounds like the sort of song that Lennon was writing in 1963/64. McCartney's memory of his contributions is sometimes faulty, but this story sounds credible. McCartney seems to have absorbed sophisticated chord changes during his teens by learning Broadway standards which his father played - rather like the way Brian Wilson learned sophisticated jazz voice leading as a teenager by analysing Four Freshmen records. Although Lennon wrote great songs with unexpected chords and modulations, the chords of the Intro - which sound like the refrains written by Gershwin, Kern and Rodgers - aren't really typical of his style.
There's a bootleg tape recording from those days - still available online - on which Lennon can be heard working on the song (with amusing comments). The Intro sounds complete but the rest of the song is still a work in progress.
Paul had absolutely nothing to do with the writing of this tune. It's 100% Lennon.
Ps. Paul talks a lot of crap. Especially in recent years.
@@scottandrewbrass1931 Smoking a lot of pot over the years affected his memory.
@@scottandrewbrass1931true dat lol McCartney revisionism strikes again
Paul has said that they were both enamored with those Great American Songbook pieces with an intro section that is different from the main tune. It seems like Paul could have written it, but who really knows?
Your account from Paul makes alot of sense.
Lennon simply didn't have this intrical intrinsic sense imo
Obviously,Rick is buying into it, but in this case the intrinsic ear is still derivative even from McCartney, but is not seen anywhere else in Lennon's vocabulary.
Paul singing the melody on both verses, and bridge, except intro, and those small lead ins between verse which are unison with John.
Lennon is singing the low harmonies throughout entire rest of song with exception of noted above unison .
When I was a kid, this was the song that finally levered me off the Elvis train. I still loved him, but this was really different. This was Liverpool in winter, smoky fires and rain, all in a song.
I learned this song on an acoustic, when I was a kid, and knew nothing about exotic musical theory back then.
I hear notes ascending, and descending, within chord structures.
I believe this song evolved organically, by kids, experimenting with harmonies that they were able to first sing, then they figured our the chords, just as we all had to do, before the internet existed.
I think you are AMAZING. For REAL!!!!
Mack The Knife has that biiidim7 chord towards the end of the progression. It goes from iii, biiidim, ii in a passing/voice leading manner.
During that arpeggio exercise I could hear both Bach and Django. Shows how the masters live on. Those were the days when chord progressions went somewhere and told you where they were heading.
What a great song! I remember when it first came out. I really appreciate your breakdown of "If I Fell." Thank you for the video Rick.
I don't believe John and Paul were intentional with this (and many other songs), they thrashed it out and tried different things until it worked. I could imagine John asking Paul for his input and together they took it to amazing new places.
Love the song. Love the analysis - glad I didn’t know all this 59 years ago!
John was the ultimate chord progression composer genius in the Beatles. He broke the rules and created masterpieces with time signature changes, key changes, borrowed chords and then on top of that some of the most imaginative lyrics and melodies ever written
Beato and the Beatles! Love your analyses of these songs. Beautiful!
Sweet! Now we need a breakdown of "With A Girl Like You".
beatles harmonies are what i grew up on. Yes It Is is a classic it's where they pay tribute to the old doo wop groups.. i tried to get my friends to sing Because back in high school. we used to sing If I Fell to the pretty girls in high school. it's beautiful especially the high harmony which is classically beautiful with Paul hitting the high notes like a pro and John on the lower part.
That was my dad’s favorite song, I never asked my dad his favorite song,you’re a lucky man!!
The Beatles' songs were so inventive throughout their career, and it just makes me wonder to what extent this was because they were compositional geniuses, which of course they were, and to what extent it was because they had the artistic courage and integrity to pursue their musical ideas no matter how new and unusual they were at the time despite the artistic and business pressure that they surely felt to just do what everyone else was doing and not take risks or be "weird", and play it safe.
Clearly both played into their music. I think that all great artists possess both qualities, not only the raw talent honed by years of practice, but the character to just say fuck it, I'm doing what feels right to me and to hell with all the doubters and critics. They all did this, Beethoven, Tchaikovsky, Joplin, Debussy, Stravinsky, Parker, Davis, Dylan and the Beatles. Many others of course.
Very nice, Rick. All your analysis is right on to me and your explanations of the turning points (modulations, common tones, borrowed chords) should be very instructive to anyone learning the more complicated aspects of theory, especially because you are playing the chords so we hear the charges instead of just seeing or thinking about them. Good point too on the D9 being a functional dominant 7th chord--the added E is an extra color/flavor element.
I have a lot of fondness for this song because it recalls a very distinct memory from years ago when I was playing keyboard in a Glenn Miller type band in Chicago; we had a break during a rehearsal and some jazz piece had an E flat minor chord that I used to segue into the intro of this song. Two guys in the band (a lead singer and a sax player) joined in with the melody and harmony vocal parts and we did the whole thing off the cuff.
The introductory bit, with harmonies that are so remote from the main key of the song, is not only cool, but reminiscent of the slow introductions to Beethoven's symphonies, which take various meandering routes to the opening allegros. I'm thinking especially the 4th Symphony. It's in B flat major, but the slow intro, after an opening B flat played unisono, drifts into B flat minor; and then uses the G flat/F sharp enharmonic equivalence to go to B minor. More modulations get to an A major chord, then A is heard unisono, leading enharmonically to a big, loud F major chord, and the B flat major allegro ensues as if nothing odd had happened at all.
Another nice (bit far simpler) chord change is in the beginning of "Another Day" by McCartney. The melody goes from the tonic C up to E; the chords go C major, E7, Am7, Dm7, G7, and back to C. The E7 chord isn't necessary; it would work if it was, say Cmaj7. But the E7 is more interesting because it provides an interior voice going from the G natural in the C chord to G sharp in the E7 to A in the Am7 (and of course E7 does its secondary dominant thing to Am7).
Thank You Rick. This is 1 of the best. The song was included in both the lp and film A Hard Day;s Night in 1964.
That beginning bit reminds me of “Just” by Radiohead. Love these type of modulations
"Waves" is a good comparison for that change and sort of the attitude of that intro. It's got a bossa nova "forget the templates and rules" approach and Lennon seems to rely on instinct over tradition.
It's not a modulation, it's just an introduction. A key hasn't been established until the verse starts. This is pretty standard fare for 1940's and 50's.
Great analysis as ever Rick. I’ve always loved playing this song when I’ve got another singer to harmonise with. It’s actually from early 1964 rather than 65, written for the Hard Days Night album and movie soundtrack. As you say, it can be confusing for Americans used to the Capitol releases which differed in those early years.
John always wrote these genius sequences instinctively, as he didn’t have theory knowledge other than experience, which I think makes it even more amazing. The Beatles learned so much chord craft playing 8 hour sets in Hamburg where they played many standards as well as the rock ‘n roll
I appreciate that music is Rick’s career and that he has forgotten more about music theory than I will ever learn but this song came out in 1964 and I was a 12 year old fan who, at that age, just took things like this in his stride. I was blissfully unaware of chord progressions and things like Eb major and whatnot. So when I hear this song I simply revert back to that 12 year old boy and sing dreamily along keeping time with Ringo by tapping my fingers on whatever is handy, usually my own ribs 😂.
They were in C# major in introduction. The only changed chord is D major (9b Chord). And then the key up to D major
Great lesson today. Thank you Rick! Always learn something new on this channel.
A lot more to the early Beatles songs than it seems; I also always loved that Antonio Jobin song Wave and neve knew the artist. I was just 7 when it came out,. Great stuff.
John wrote that when he was only 24-years-old. Aaaah!! One could spend a lifetime studying it.
Rick - "If I Fell" was on the Beatles first film album ("A Hard Day's Night"). You can watch them perform the song in the movie. The album was released on July 10th, 1964. They recorded "If I Fell" on February 27th, 1964.
Jobim's first album came out in late August, 1963. The album was recorded in just two days (May 9th & 10th, 1963). That first album included "The Girl From Ipanema", "Corcovada" and "Desafinado". His second album did not come out until 1965. "Wave" came out in 1967.
Good to hear mention of Antonio Carlos Jobim again. Wave is a great album, I love the title track, but also Lamento, Triste, Batidinha all amazing. If anyone could challenge Lennon and McCartney's songwriting, Jobim would be a contender, almost all of the greatest Bossa Nova tunes were Jobim compositions.
Edit: I forgot to say Corcovado was written in 1960, so a bit before If I Fell. I'd imagine someone else has already mentioned this by now, but just in case. For anyone interested Corcovado is the name of the mountain behind Rio De Janeiro, it means Humpback, but I'm guessing there are more Beatles fans than Jobim fans here.
Yeah, you’re right about pop songs rarely using half-diminished seventh chords… I think Andrew Gold uses one in the chorus of “Lonely Boy” from ‘77… George Harrison and Jeff Lynne referred to augmented and diminished chords as “naughty chords” because conventional wisdom said you didn’t use them in pop songs!
This goes to show how the Beatles were so connected to other genres and earlier eras of music. The intro to the song is like the intro to a musical or jazz standard. The analogy with bossa nova and Joabim was a brilliant touch. I wonder if this song was really a Lennon-McCartney collaboration, since McCartney was (and still is) such a jazz aficionado, whereas Lennon was more rock-n-roll.
One reason people get confused with "did the beatles know musical theory?" is: Music theory is NOT "theoretical" like in science (where phycisians make calculations and say "there must be something like dark matter"). Someone invents a meolody with chords. Other people hear it and like it and copy it. And other people sit down and analyse it: "What do they do here? Can we give this stuff that we love a name and teach it?"
By the way, the amazing intro was written by Paul :)
Maybe my fav song of all time...
People of all ages are crazy about The Beatles, it is fascinating.
This was a GREAT video. Love both your channels, Rick.
The big Corcovado hit was on Getz/Gilberto in 1963.
I don't understand how musicians are so concerned with chord changes, Beatles did what they did precisely because they didn't know music by the sheet music, but by the heart and soul and emotion of life.
Bf major to. Major Beatles did it all the time, Lucy in the sky ,come and get it, little help,lease please me etc
You never give me your money.... next.
Yes! Someone opened my eyes for the intro to "If I Fell" years ago (on the now defunked XTC mailing list "Chalkhills" if I recall correctly), and I've hoped that you (or maybe Mike Pachelli) would have a go at this. Thank you, Rick!
But please, Rick: After you've written something onto the paper, please hold it up for a while and hold it still. I got to the first "so this is the roman numeral analysis" at around 6:10 and am already rewinding and trying to pause at a point where the notebook is kept still so that what you wrote is readable.
Enjoyable breakdown. Some of those progressions remind me of Seal’s Kiss from a Rose.
“I love this kind of stuff”- this week in obvious statements! I always love listening to Rick, even if it starts to sound like theoretical physics.