https://open.spotify.com/track/3PjMtNzwhDHqxoKudm6GvF?si=y7aL7zo-QJu124eubgf5Wg

 

Introduction (Bar 1-4): 

F major 

¾ time 

Two bars of harp repeated 

Based on the tonic chord 

Harp glissando on the first beat of every bar 

 

Verse One (Bar 5-36): 

Alternating A and B phrases, each 8 bars in length 

8 bars of vocals accompanied by a staccato motif in the harp 

Interrupted by cello in bar 10 playing a modal scale (panned) 

The B phrase is based entirely on the dominant chord (Bmaj with added notes) 

Syncopated strings punctuate the end of each vocal phrase 

Sustained string accompaniment in phrase B 

Repeat of phrase A with some rhythmic changes to fit the new lyrics 

Violin is added in contrary motion to cello 

Double bass plays a descending line depicting going downstairs (word painting). Violin also descends (music reflects words) 

Repeat of B phrase with some rhythmic changes to fit new lyrics 

Richer string texture with lower strings added to the accompaniment 

 

Chorus One (Bar 37-55): 

8 bars of 2 part counterpoint (overdubbed) with string accompaniment 

Initially based on the tonic chord 

Repeated on beat rhythm in upper strings with lower tonic pedal 

Sustained high-pitched narration (Paul) with lower commentary (John) is reminiscent of a "Greek Chorus" 

A Greek Chorus was used in Renaissance plays and opera to comment on the action of the play 

 

Verse Two (Bar 56-87): 

Phrase A is similar to verse one however with sustained strings from the start 

Against this we hear four bars of rising cello arpeggio type figures 

Phrase B features sustained accompaniment and harp chords 

Phrase A features a syncopated rhythm on the violin on the note G# (word painting of the mother sobbing) 

Phrase B features no syncopated rhythm this time 

Two accented B7 chords answer "how could she do this to me?" 

Harp ends on a descending dominant 7th chord (similar to that heard in Sgt. Pepper's) 

 

Chorus Two (Bar 88-106): 

Similar to chorus one with the following changes 

String accompaniment features a more active broken chord pattern on inner strings 

 

Verse Three (Bar 107-122): 

Sixteen bars shorter (omits first A and B phrases) 

Phrase A features block chord accompaniment by the harp 

The phrase is ended by a richer polyphonic texture in the strings in contrary motion based on the modal scale 

Phrase B features tremolo strings to portray the anticipation of the appointment 

Bouncy rhythm in the cello depicts an engine and "man from the motor trade" 

 

Chorus Three (Bar 123-142): 

Similar to chorus one with the following changes 

Upper strings play tonic chord using a repeated two-bar rhythm 

Arpeggio motif heard in the viola part (word painting) 

 

Coda (Bar 143-149): 

Seven bars with the final bars similar to the introduction on harp 

Chord progression (VI – II7 – IV – I) 

Ends on a plagal cadence