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
great notes :)