Post #270 How I play Here, There and Everywhere (The Beatles) by Danny Caudle (Easy Guitar Lesson)

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Here, There and Everywhere" is a song written by Paul McCartney[3][4] (credited to Lennon--McCartney), recorded for the Beatles' 1966 album Revolver. In his biography Many Years From Now, McCartney said the song is one of his favourites.[3] Beatles' producer George Martin has also mentioned it as one of his favourite McCartney songs. John Lennon reportedly told McCartney it was "The best tune on the album" and said in his 1980 Playboy interview it was "one of my favourite songs of the Beatles."[4] It was ranked the 4th greatest song of all time by Mojo in 2000.[5] McCartney wrote the song at Lennon's house in Weybridge while waiting for Lennon to wake up. "I sat out by the pool on one of the sun chairs with my guitar and started strumming in E," McCartney recalled. "And soon [I] had a few chords, and I think by the time he'd woken up, I had pretty much written the song, so we took it indoors and finished it up." [6]

Musical structure

The verse is based on an ascending major chord sequence, while the middle eight, which modulates to the tonic minor, creates a telling contrast. The introduction beginning "To lead a better life" opens in the key of G and involves a I-iii-♭III-ii-V7 chord progression. The ♭III (B♭ chord) on "I need my love to be here" (arpeggiated in the melody line) is a dissonant substitute for the more predictable VI (E7) that would normally lead to the ii (Am) chord.[7] The verse opens strongly anchored on "Here" in the key of G (with simultaneous I (G chord) and melody G note) and moves equally predictably to a I-ii-iii-IV chord shift (G-Am-Bm-C) through "making each day of the year".[8] This repeats on "Changing my life with a wave"; but immediately after (in bar 5) the song indeed changes on "of her hand". It goes down six semitones from the IV (C chord) to a ii (F#m) [adding a non-G scale C#] then a V7 (B7) chord [adding a non-G scale D#] which briefly modulates towards a new tonic Em.[9] The harmonic fascination with the bridge segment beginning "I want her everywhere" is that at that point the key centre does go "everywhere". It shifts via an F7 chord (a ♭VII in the old G key and a V7 in the new B♭ key) to a I-vi-ii (B♭-Gm-Cm) chord progression in B♭ key. It then shifts again via a D7 chord (a III7 in the old B♭ key and a V7 in the new Gm key) to Gm key where we go through a i-iv (Gm-Cm chord) progression. Finally the pivot of D7 takes us back to the G major tonic and reinforcing G melody note of "Everywhere."[10] [edit]Recording

The song is noted for its bitter-sweet melody, layered backing vocals and utilising a 'clever harmonic scheme' underpinning the chordal structure.[1] McCartney mentioned in the 1989 radio series McCartney on McCartney that the much-praised vocals were meant to have a "Beach Boys" sound. He has said he was trying to sing it in the style of Marianne Faithfull.[3] His vocals are multi-tracked.[11] [edit]Personnel

Paul McCartney -- double-tracked vocal, acoustic guitar, bass, finger-snaps
John Lennon -- backing vocal, finger-snaps
George Harrison -- backing vocal, lead guitar, finger-snaps
Ringo Starr -- drums, finger-snaps
George Martin -- producer
Geoff Emerick -- engineer
Personnel per Ian MacDonald[11] [edit]Cover versions

Noted performers who have covered "Here, There and Everywhere" include Beegie Adair,[12] Clay Aiken, David Benoit, George Benson,[12] Peter Breinholt, Petula Clark, Perry Como, Count Basie Orchestra[12], John Denver, Céline Dion (for a George Martin/Beatles tribute album),[12] Episode Six, Jose Feliciano (instrumental),[12] Jerry Garcia and Merl Saunders (instrumental),[13] Bobbie Gentry, Stéphane Grappelli,[12] Ofra Harnoy,[12] Emmylou Harris, The Flying Pickets, Jay and the Americans, The Lettermen, Locksley, Kenny Loggins (on Kenny Loggins Alive),[12] Claudine Longet, John McDermott, Carmen McRae,[12] Olivia Ong, Maaya Sakamoto, George Shearing,[12] The Singers Unlimited, Sissel, Göran Söllscher,[12] Marina Verenikina, and Andy Williams.
Bruce Welch of The Shadows claimed in his autobiography that McCartney offered the tune to Shadow's lead guitarist Hank Marvin prior to the Beatles' recording.[14] Marvin s

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