![]() ![]() ![]() This is the first instance of a middle 8 changing time signatures (from triple to quadruple). The middle 8 is used twice, lasting 6 measures and 13 seconds the first time and 10 seconds the second time (in which it is slightly abbreviated because part way through it jumps to the coda), totaling 19.2% (23/120) of the song's duration. The middle 8 is used twice, lasting 10 measures and 14 or 15 seconds each time, totaling 17.0% (29/171) of the song's duration. The middle 8 appears just once, lasting 10 measures (including a 2 measure transition at the end, which leads back to the verse) and 17 seconds (15.7% of the song's duration). The middle 8 appears twice, lasting 8 measures and 14 seconds both times, totaling 19.4% (28/144) of the song's duration. The middle 8 appears just once, lasting 10 measures (the last two of which are transitional, leading back to the verse) and 17 seconds (14.5% of the song's duration). This is significantly more formal weight than in "Love Me Do". Adding the introduction to the two iterations of the middle 8, the middle 8 comprises 35.5% (43 of 121 seconds) of the song's duration. In addition, the introduction is based on the middle 8. The middle 8 appears twice, lasting 8 measures and 14 or 15 seconds each time. "Love Me Do" The middle 8 appears just one time, lasting 8 measures and 14 seconds (10.1% of the song's duration). With that nascent notion in mind, this post will analyze the structural weight of the middle 8 in each Beatles song released prior to August 1964. I suspect that in both, observing and analyzing these specific formal components can serve as a microcosm for their development as creative artists as a whole. Yesterday I posted a structural analysis of "When I'm Sixty-Four" that gave me the idea of comparing how Ludwig van Beethoven treated his development sections with how the Beatles treated their middle 8 sections. ![]()
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