![]() Cleverly, the only place that F# appears unequivocally in the song is at the start of the refrain, where it appears as part of a b-minor chord rather than a tonic D-Major. I believe this is a side effect of the heavy use of Major IV instead of the more naturally occuring minor flavor. ![]() The music creates an "aural illusion" of containing more widespread minor/Major clashing than is actually the case. The harmony is limited to the minor-mode blues trio of i, IV, V, assisted in the refrain by an appearance of vi. the final syllable of the word "together" is sung as a F#. The refrain opens the range upward a bit, and for an instant actually suggests the Major mode i.e. The verse tune is in a pentatonic Dorian mode, with minor thirds, sevenths, and an avoidance of the sixth scale degree. The latter contains a self-effacing humorous undercurrent not as evident in the comparitively grim finished track, as well as the relatively rare opportunity to hear John lead singing unretouched, something of which you should always run to avail yourself. Until the release of "Anthology" volume 3, take 1 of "Come Together" was one of the Holy Grails of Beatlegdom. (By the same token, you'll note the detail-sweating wisdom exercised by shortening some of those intro reprises in the second half of the song.) As a result, the mood is one of having all the time in the world, in spite of the fact that both tempo and backbeat are moderately driving. In the meanwhile that intro recurs over and over. The first refrain doesn't appear until 1:10, and the extended and harmonically static outro occupies a virtually equivalent amount of time at the end. Both the form and proportional assignments of time are quite expansive. " Dig A Pony" - his exhortatory frame of mind divided between abstruse condemnation in the verses and encouraging authority in the refrains." Nowhere Man" / " Mean Mr Mustard" - the portrait of an unsavory." I Am The Walrus" - patter/talking blues in surrealistic tongues.Resonances with specific Beatles songs by John abound from a variety of perspectives: The song has a frugality of material that is one of John's general songwriting traits. Think "evocation" as opposed to "imitation" compare this song with the group's covers of songs by Mr. In essence it's a matter of ironically updating an old style such that even when the antecedent musical elements stand out as painfully obvious, the effect of the stylized writing and production values transcend the model. Call it what you will: "stylized", "neo-classical" maybe even "rubber soul" (read: music style, not album title). "Come Together" opens the "Abbey Road" album with a stylistic gesture that remains, over the long run of their career as well as from our historical view of it 30 years later, one of the Beatles key strengths and accomplishments. US-release: 1st October 1969 (LP "Abbey Road") UK-release: 26th September 1969 (LP "Abbey Road") Recorded: 21th, 22nd, 23rd July 1969, Abbey Road 3 Form: Intro/Verse | Intro/Verse | Refrain |ĬD: "Abbey Road", Track 1 (Parlophone CDP7 46446-2) ![]()
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