best guess is that John and Paul just intuitively gravitated towards this stuff. They found these structural relationships interesting for the same reason that a lay listener might find them interesting, without being consciously aware of what's going on, or able to describe it in technical terms. They just had really, really, really, really good musical instincts. (And, as he says, a brilliant, sensitive producer.)
- Darcy
I did an analysis of "You Won't See Me" some years ago which I presented at the Western New York chapter meeting of the AMS. I was able to account for every note of the piece without referring to chord progressions at all, and I will never believe that the structure I unearthed was unconscious. In the same paper I demonstrated that the underlying techniques were prominent in many, many other Beatles songs, regardless of composer, and were derived from incidental features of some of their earliest songs. Pollack correctly notes the importance of descending chromatic tetrachords in the song, but fails to note their generative power in the actual creation of the piece, because like everybody else he assumes that the chords were born fully-formed and that their inner workings must therefore be secondary.
Maybe I'll put my analysis up on the web. Pollack has certainly got me thinking...
-- Andrew Stiller Kallisti Music Press
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