Part of what makes TNK so unfamiliar is that it is built on just one chord: if you don’t dance away from the tonic, then you have no resolving center to return to for a sense of completion and closure.
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a pitch that plays the pivotal role in the melody so that when the melody finally comes back to the tonal center it achieves a resolution and gives the song a natural end-point. Songs like “Eleanor Rigby” and “Here, There and Everywhere” have what musicians call a “tonal center,” i.e.
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It doesn’t have the gregorian chanting, and in fact the vocals are so distorted you can barely understand them, but the separate chords are very obvious, and the whole composition is just damn cool!įor part 4 of 5 see “She Loves You.” How to interpret a Beatles’ song, Part 5 of 5: the meaning of my favorite Beatles’ song. But my favorite cover version of all is by Tangerine Dream on an album called Abbey Road: a Tribute to the Beatles by various artists. It’s too bad John didn’t have today’s technology back then.
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There’s no singing, but a sitar does the melody. And there’s one version that I think comes closest to what John was trying for, because it makes use of chanting monks and has a very Eastern meditative sound to it. Chord websites show it this way ( or B sharp, sorry, I never studied music, I just learned to play by ear.) And out of the many covers of this song (some ho-hum, some very good), one by Stay (Homenage 50 Aniversario The Beatles album) adds in an F in alternating riffs, which gives it an interesting flavor. But I’m basing this entirely on my own ears, so who knows?Īndrew, I don’t know why Paul said that, because there are obviously 2 chords in this song: it’s in the key of C, with a repeating shift to B on the third quarter. Basically, the slower “Taxman” solo just sounds more natural to me. And I can’t think of any other Beatles guitar work played as fast as that little descending sitar-ish bit. Which brings me to another revision, albeit one that I’m far from 100% sure of, and have no way of proving: That, rather than being slowed down, the TNK guitar parts were actually recorded at the proper speed in the key of D and retained that speed and key on the finished recording and that the “Taxman” solo was likewise recorded in D, then sped up to C, possibly because Paul couldn’t quite play the solo cleanly enough at that tempo. Chief difference: It’s transposed to the key of C from D, therefore a little bit faster and higher pitched. And it’s this same 6-note bit – again, phrased slightly differently – which appears very early in the “Taxman” solo, immediately after the initial 9 repetitions of the opening note. Segments 2, 3 and 5 all begin with (or, when played backwards, end with) the same standard 6-note blues lick, plqyed in a slightly different fashion each time. OK, boring analysis: The TNK guitar part is split into five separate segments. And I always get pictures of seasides, of Torquay, the Torbay Inn, fishing boats and puffins and deep purple mountains. I used to get a lot of seagulls in my loops a speeded-up shout, hah ha, goes squawk squawk. I always think of seagulls when I hear it.
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We played it through a few times and changed some of the tapes till we got what we thought was a real good one. We ran the loops and then we ran the track of ‘Tomorrow Never Knows’ and we played the faders, and just before you could tell it was a loop, before it began to repeat a lot, I’d pull in one of the other faders, and so, using the other people, ‘You pull that in there,’ ‘You pull that in,’ we did a half random, half orchestrated playing of the things and recorded that to a track on the actual master tape, so that if we got a good one, that would be the solo. It was nice for this to leak into the Beatle stuff as it did. The only thing I ever used them on was ‘Tomorrow Never Knows’. People tend to credit John with the backwards recordings, the loops and the weird sound effects, but the tape loops were my thing.