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Rock-and-roll, a generic term, originally (1951) used to replace the label rhythm and blues, defines the music indigenous to and supported by white, middle-class, youth. Characteristic of the music is a recurring, overstated rhythm, a plodding 4/4 beat (most music was dance-oriented), and the simple I-vi-IV-V-I harmonic progression., Other features include a typical ABA form with occasional variations, melodies which are indistinguishable through the raw, semi-shouting style of the vocalists, and a text, usually subordinate to the music, dealing almost solely with adolescent love. Among the countless groups displaying the rock-and-roll style, both in America and England, the Beatles, then the Quarrymen, including, in 1957, John Lennon, George Harrison, and Paul McCartney, were assimilating the popular style (reflected by such contemporaries as Elvis Presley, the Everly Brothers and Chuck Berry) which became the basis of their own musical output. As they emerged as an internationally famous group, the Beatles were producing songs in a polished style, including more sophisticated melodies and harmonies than those typical of the rock scene. Their music illustrates the major influences operating in the field of popular music from 1962 to 1970. Acting in both an avant-garde capacity as well as maintaining traditional ties with the genre, these composers provide a documented evolution of popular music materials of the last decade. Inasmuch as the music ranges from the simple, stylized idiom characteristic of the early '60s to the more personal and artistic expression of their mature years, evolutionary tendencies are evident in virtually all musical parameters which they employ. It is the purpose of this thesis to examine the instrumentation, harmony, form, and album unity within the Beatles' music, hopefully deriving an understanding of some style characteristics of rock and roll of the '60's and a regard for its artistic integrity. In general the procedure shall include the identification of the style of each specific parameter as utilized in the quartet's early years (1962-1965) and a longitudinal investigation of their properties throughout the remainder of the Beatles' complete works. Appended to the thesis is a complete discography as well as information supportive of the conclusions stated within the thesis. For the more statistical areas of harmonic analysis, a computer program in the SNOBOL IV language was utilized . Compilations of chord types, root movement patterns, and recurring harmonic patterns as well as list of frequency and percentage of usage are well suited for analysis programs.
(Guitar Collection). 25 classic songs from the Fab Four are presented in lyrics, chord symbols and guitar chord diagrams, making Beatles' music accessible to beginning guitarists just learning their craft. Songs include: Beautiful Dreamer * Come Together * Don't Let Me Down * Eleanor Rigby * Helter Skelter * I Saw Her Standing There * Let It Be * Ob-La-Di, Ob-La-Da * Paperback Writer * Twist and Shout * You've Got to Hide Your Love Away * and more.
Thirty years after The Beatles split up, the music of Lennon, McCartney, Harrrison and Starkey lives on. What exactly were the magical ingredients of those legendary songs? Why are they still so influential for today's bands? This ground-breaking book sets out to explore The Beatles' songwriting techniques in a clear and readable style. It is aimed not only at musicians but anyone who has ever enjoyed the work of one of the most productive and successful songwriting parterships of the 20th Century. Author Dominic Pedler explores the chord sequences, melodies, harmonies, rhythms and structures of The Beatles' self-penned songs, while challenging readers to enhance their appreciation of the lyrics themselves with reference to the musical context. Throughout the book the printed music and lyrics of The Beatles' songs appear alongside the text, illustrating the author's explanations. The Songwriting Secrets Of The Beatles is an essential addition to Beatles literature - a new and perceptive analysis of both the music and the lyrics written and performed by what Paul McCartney still calls 'a really good, tight little band'.
Given the phenomenal fame and commercial success that the Beatles knew for the entire course of their familiar career, their music per se has received surprisingly little detailed attention. Not all of their cultural influence can be traced to long hair and flashy clothing; the Beatles had numerous fresh ideas about melody, harmony, counterpoint, rhythm, form, colors, and textures. Or consider how much new ground was broken by their lyrics alone--both the themes and imagery of the Beatles' poetry are key parts of what made (and still makes) this group so important, so popular, and so imitated. This book is a comprehensive chronological study of every aspect of the Fab Four's musical life--including full examinations of composition, performance practice, recording, and historical context--during their transcendent late period (1966-1970). Rich, authoritative interpretations are interwoven through a documentary study of many thousands of audio, print, and other sources.
The Beatles are probably the most photographed band in history and are the subject of numerous biographical studies, but a surprising dearth of academic scholarship addresses the Fab Four. New Critical Perspectives on the Beatles offers a collection of original, previously unpublished essays that explore 'new' aspects of the Beatles. The interdisciplinary collection situates the band in its historical moment of the 1960s, but argues for artistic innovation and cultural ingenuity that account for the Beatles' lasting popularity today. Along with theoretical approaches that bridge the study of music with perspectives from non-music disciplines, the texts under investigation make this collection 'new' in terms of Beatles' scholarship. Contributors frequently address under-examined Beatles texts or present critical perspectives on familiar works to produce new insight about the Beatles and their multi-generational audiences.
Hundreds of books have been written about The Beatles. Over the last half century, their story has been mythologized and de-mythologized and presented by biographers and journalists as history. Yet many of these works do not strictly qualify as history and the story of how the Beatles' mythology continues to be told has been largely ignored. This book examines the band's historiography, exploring the four major narratives that have developed over time: The semi-whitewashed "Fab Four" account, the acrimonious breakup-era Lennon Remembers version, the biased "Shout!" narrative in the wake of John Lennon's murder, and the current Mark Lewisohn orthodoxy. Drawing on the most influential primary and secondary sources, Beatles history is analyzed using historical methods.
1500 illustrations and superb photographs, original memorabilia, newspaper features together with a detailed chronology of the world's greatest rock band.
Chronicles the Beatles' use of instruments from 1956 through 1970, including photographs and discussion about Paul's 1963 Hofner 500/1 violin bass, John's Rickenbacker 325 12-string, and George's Gibson Les Paul.
Combines lyrical prose and illustrations in an introduction to The Beatles, history's best-selling band, that details their ordinary childhoods and musical inspirations amid a backdrop of postwar England.
A bite-sized collection of more than 170 quotes by and about the Fab Four from Liverpool. You say you want a revolution? The Beatles created one, unleashing a fan frenzy with their music and style. Beatlemaniacs will love this collection of quips from the band, their collaborators, and others. The quotes range from John's "I'd like to say thank you on behalf of the group and ourselves, and I hope we passed the audition," to Paul's "There are only four people who knew what the Beatles were about anyway."