My bad about the Police song. I put up the wrong video clip and it’s NOT the bridge section I meant it to be. Should be “since you’ve gone I’ve been lost without a trace.” Wish I could take it back. Thanks for understanding! Also I just had a weird slip of the brain when I said Peter Martin (a friend of mine) instead of George but I corrected in in the text on the screen as I say it because I noticed while I was editing
Thanks for this. I came to the comments on my phone while watching on my TV just to see if anyone else thought this was the case. Great work otherwise!
Your analysis and excellent musical talent more than makes up for these minor oversights. I loved it so much and it helped m see understand why I love the Beatles music so much.
Actually it is correct in a way - the song is kind of A A B A C A B A with a normal bridge that you included and then another one... if the song was a mathematical formula it would have double brackets hehe
Back in the day, William F. Buckley, Jr. was the nation's most prominent conservative. This is what he wrote about the Beatles in 1964: "The Beatles are not merely awful. They are so unbelievably horrible, so appallingly unmusical, so dogmatically insensitive to the magic of the art, that they qualify as crowned heads of antimusic."
Did you not mention John's bridge to "We Can Work It Out"??? That might be their most iconic bridge section ever! And it was George's suggestion to switch to 3/4 time briefly at the end of each line. Those lyrics, the rhythm, the time change! That is one EPIC bridge.
Initially, my mom - who studied classical piano - wasn't that much impressed by Beatles music. That is, until she heard Yesterday, and sometime later, She's leaving home and Eleanor Rigby. Then she started paying attention to what I played with my group and then a lot of the Beatle records. Eventually she became as much a fan of them as I was. Amazing, eh!
Except, that George and the other Beatles called it "Waltz time"! Reminds me of when "Peter Martin" (giggle...) was recording Please Please Me with them and he suggested that they "change the tempo".. "What?".. "Make it faster boys". As Paul describes the incident they were a bit affronted, but complied, and later admitted that it was the trick which made their first hit, and increased their respect for Martin. They were never "theorists", which only increases ones admiration for the inventiveness of the bridges described here. And, yes, the waltz time in We Can Work it is both startling and it makes the song!
The thing starts of in E flat, steps down in half steps which sound kind of weird but the melody John sings ties it altogether without a single bump, then it pops out in Dmaj. The intro is amazing and the song is gorgeous. I agree the D9 is great and UNEXPECTED.
Dunno his normie name, but 12Tone belongs on this list. Also, I want to second, and third, Aimee's addition of Nahre Sol. Skilled keyboard artist, ever more creative & sophisticated composer/improvisor, and a truly brilliant and inspiring teacher.
The bridge in the Cream song, “Badge” was written by George Harrison, so it is almost a Beatles’ bridge. What I love most about it is that George hand wrote the notes on a piece paper for Eric Clapton and scribbled the word “Bridge” at the top. Eric couldn’t read the handwriting and thought it said “Badge,” so that’s what he named the song, as a nod to his pal George for helping him out.
George's name maybe on the credits for writing the song and I honestly don't even want to take the time to look it up. It was George and Eric who wrote that song... together.
@@tefenstrat My typing was sloppy and I did not mean to write that George wrote the song-Only the bridge. Clapton, as you say wrote the main parts of the song. It’s just amusing that the song got its enigmatic name because Eric couldn’t read George’s printing.
One of my great memories of my mother (who was totally pre-Elvis and had no regard for the music of my generation)- I was sitting in the basement with my guitar and a sheet music book, looking at the simple chords to "I Should Have Known Better", when Mom walked by and surprised me by scooping it up. She squinted at the page for just a second and said "This is CUTE!" She carried it over to the piano and "I Should Have Known Better" came pounding from her fingers. Amazing. I don't read music. Lennon and McCartney don't read music. But Mom was able to look at some squiggles on a page and perceive their genius.
And a real favorite memory- in the last year of her life I was showing "Yellow Submarine" to my nephews (who'd seen it many times and always begged for it) when Mom joined us on the couch, sitting between her young grandchildren. She watched quietly until "It's All Too Much" came up, and I thought "Oh, no...she's not going to be able to handle this..." The psychedelic freak-out was a lot even for me, when I was a small kid. As it ended, Mom said, quietly, "How could I ever have not understood how wonderful they were?"
As a 10 year old in ‘64 I could tell the Beatles were something different and awesome out of the gate. I know nothing about songwriting but I know something great when I hear it. I can’t imagine any group matching these dudes ever again. Especially with the quality and quantity of great songs
The first half of the Beatles output often eschewed choruses, and had B sections instead. I prefer that form. There's A Place has three sections, and it's a stunner of a song.
Watching/listening to this video is like going to a three Michelin star restaurant after s whole life of eating McDonald's. You just made my day happier. Thank you.
'Things We Said Today'...a fantastic chord progression for the middle 8. With the lyrics, it still has an emotional impact for me. Thanks for choosing it, Amy.
I bought every Beatles song "off the press" and know them all intimately. But you are able to get fresh wine from the grapes that have been trod by so many other feet and bring it down so that we can all understand it. You are so talented and have that distinctive voice that expresses the songs so beautifully. I saw The Beatles twice in Belfast way back then. Sorry for being obsequious but The Beatles have been so important to me all my adult life. Many thanks.
Yes, same here. When she said Things We Said Today was a little obscure, I thought "there are no obscure Beatles songs!" We know every lyric to every one!
<a href="#" class="seekto" data-time="599">9:59</a> That little Bach-like instrumental interlude bridge thingamajig on "In My Life" is one of my favorite moments on _Rubber Soul._ Actually, it's one of my favorite moments in the Beatles' whole legendarium. I know that was something George Martin cooked up by himself in the studio, but still. (And I never noticed it reprises the chord sequence from the song. No wonder it fits in so well!) Of course, George did it as a work for hire. (Lennon asked Mr. Producer Man to come up with "something Baroque-sounding", if memory serves.) And technically, Martin actually wrote a middle sixteen; apparently his plan was to just play it twice as fast, to make it fit. I guess to make it "Baroque". (Which would probably have worked on, say, a harpsichord; but a piano is not a harpsichord.) Martin's solution - recording it with the tape at half speed - was such a bloody genius move. It even gave it that lovely harpsichord-like timbre. If Martin really was the one who actually devised that tape-speed trick, he's a clever boffin.
I replied to a comment on David’s video that the AABA format is also somewhat common in Classical Christian hymns, & I listed some examples. Several of them are different lyrics set to folk melodies, like “The Ash Grove” & “In Babilone”. There are EVEN MORE examples of hymns in AAB format than in AABA. Some of these are: “The Lord’s My Shepherd” set to the tune “Brother James Air”; “Let All Mortal Flesh Keep Silence”, set to the French folk tune “Picardy”; “Christ is Made the Sure Foundation“; “Come to Calvary’s Holy Mountain”; “Lord, Dismiss Us with Your Blessing”; “For the Beauty of the Earth”; “Praise to the Lord, the Almighty”; & “The First Noel”.
Fantastic segment! The Beatles set a very high standard for bridges. Bridges provide a fresh change from the AB AB structure, and while they provide relief for the ear they also can ratchet up the tension in the song by extending the lyric themes as the tune crashes back into the verse/chorus. You left out Baby's in Black, one of the most economic bridges, yet one that provides tremendous opportunity for amazing harmonies and a smooth return to the verse. Can I say that you needn't complain about the RU-vid restriction on clips - - because you don't need them! You do even better when you get on the piano, overlay some graphics, and sing! You're a superb musician and can totally carry those moments so plunge in! Please do a part 2 of this!
Bridges by a lot of other writers are often letdowns. It's as if, "OK, this song needs a bridge. This is it, but I know you can't wait to get back to the A part." The Beatles never did that.
Fav fab bridges... Julia - 'Her hair of floating sky is shimmering...' And I Love Her - 'A love like ours...' Hey Jude - 'And any time you feel the pain...' Nowhere Man - 'Nowhere man, don't hurry...' Lucy - 'Cellophane flowers of yellow and green...' Yesterday - 'Why she had to go...' Martha My Dear - 'Take a good look around you...' When I'm 64 - 'Every summer we can rent a cottage...' Two Of Us - 'You and I have memories...' So many more....
Came here from David Bennett's video. Great content Aimee, I'm always arguing with my band mates whether it is properly named as a 'bridge' or 'middle 8' now I'll know where to send them when I want to shut them up and get on with the rehearsal. Thanks for the clarity!
This is the most interesting interpretation of Beatles stuff I've seen. I'd particularly enjoy hearing how they used classical techniques without really knowing it.
I am a fan both of you and young Mr. Bennett. I’m a self-taught musician, who has played music since his youth, in church, and as a semi-professional entertainer. All the theory I know, I learned on my own. Both you and he have improved my knowledge, and inspired me to become a content creator myself. I feel I have something of value to say. God bless you and Mr. Bennett.
It was fun to read your post Davy, I'm in a very similar situation. I think the first time I saw a "music theory" video was with Rick Beato, and I immedistely thought all "players" know this stuff whether they choose to admit it or not, and that many amateurs don't usually understand what I'm talking about, and people from music schools would ask me where I studied lol It takes research and discipline to self teach, but I did have help from knowledgable musicians and learned from listening to their music long before RU-vid. I think it's great for people that people like Rick, Amie, Dave, and others are out here trying to get some of the dabblers to step up their game.
I have been arranging Beatle songs in D6 tuning. I'm 77 and I am still astonished at their arrangements, chords, harmonies, riff hooks etc especially compared to the other pop music of the day. Couple that with their wry humor and charisma and it becomes timeless. It's almost as if they invented a whole new genre of music: not rock, not pop, not jazz, not blues.....
The bridge of "I am the Walrus" has been one of my favourite moments since I first heard it probably 50 years ago (my dad was a huge fan). Just an amazing section of music on all levels. Great video btw!
Amiee, you're a new phenomenon, a non-Boomer expert of Boomer music with the chops to speak with authority. Not to mention possessing a beautiful singing voice. This is great stuff you're doing. We Boomers love our music, perhaps more than any other generation. Want to understand Boomers? Study our music, especially The Beatles.
Hi Aimee. It’s been quite some time since I posted a comment on your videos but that doesn’t mean I don’t enjoy them to the fullest. I can’t stress enough the fact that you’re not only a gifted music person but also a great speaker who is very joyful to hear. I’ve been a Beatles fan for half a century and totally convinced they are the best musicians, singers, songwriters, you name it, of the XXth century and beyond. Even for those who don’t recognize a “bridge” or a key change in a song or composition, the way The Beatles did this to their work, makes the difference in the fact their music is so unique and explains why millions and millions of people love them so much. By the way, let me tell you that another great composer is Barry Gibb from The Bee Gees. My favorite Beatles song: Got To Get You Into My Life. I’d love to watch a video from you on this one. Thanks and again, great job girl. ❤
I had to smile when I saw this video. A subject dear to my heart. Nobody writes a bridge like they did. And you even mentioned the bridge in "No Reply" and the bridge in "Things We Said Today" two of my favorite examples. I sometimes play those songs for people when I get all excited about this topic. They look at me like I'm nuts. Bravo. You are spot on! Genius writers, genius powerful bridges that totally elevate the songs and even crystalize the meaning of the lyrics Thank you for sharing this.
Great material, The Beatles have one of the finest bridges of all time in their songs. Thanks to them I found out what the bridge is. My favourite is probably "Well, well, well you're feeling fine" from "Doctor Robert" song.
As a musician .. when I finally got my hands on The Beatles Complete Chord Book it was an even further revelation of their genius. It’s incredible as young men who couldn’t read music or had no formal training .. how their ears just “heard” augmented chords or 9th chord and I could go on and on. But for me the real treat of the chord book was to see the actual chords for the middle 8’s. Those exquisite little songs in the middle of an already great song! Thank you for this! :)
See, I don’t think you’re being fair. Nor are you giving credit to Paul and John for their musical instincts. Both had listened to all sorts of musical genres from the time they were young children, and though George definitely fleshed out a lot of melodies with them, he was also Affirming and nurturing them to go further with their instincts. He helped them increase their musical vocabulary, and they ran with it.
Dont give too much credit to Martin. Sure he was there to address some issues...but the boys pretty much came to the sessions with the piano and guitar parts intact @wolfgangdevries127
Thank You Aimee. Fantastic video and explanations! I now finally understand what a "middle 8", uh..I mean a "bridge" is. I am an obsessed Beatle fan as well. Thank you so much!
Hi Aimee! I just discovered you here! I am a Guitarist/Recording Composer of Prog Rock and Fusion Looking forward to diggin here. It's the stuff I geek out over here full time Thank you Lovely voice too btw
My favourite middle 8 of all time is not Beatles but Carole King: One Fine Day. "You'll come to me when you want to settle down, oh!" The pull back to the chorus is masterful.
You are amazing beautiful lady, as a song writer, you make me think and explore what's possible and beyond, breaking rules when I feel the need for more adventurous endeavors in my creative process! I started writing songs at about 12 years old (1967), and it still excites me to this very day!
Ohmigosh this was soooo cool to listen to. I am like your stepdad although I KINDA knew what a bridge is. What a delight to actually learn new things about the Beatles’ genius, and so well explained. I also love the bits of you singing. Thinks so much!
Another bridge that always gets me is "You're Going To Lose That Girl". Song is in E major, but the bridge jumps to... C major, I think, then... slides right back from an F to the E . So classy...
Here’s something cool I know about the Beatles because I’m old enough to remember when they first showed up. I was a pretty little kid but part of what knocked out my older siblings was that they seemed to have come from out of the woods, completely self-taught, with a musical language all their own. They taught each other chords they found and often had made-up names for them. This made them impossibly fresh because they were so talented. What helped in a weird way was their poverty. Not only did they not have music lessons, but both Paul and Ringo, being left-handed, had to learn their instruments on the more common and less expensive right-handed instruments, which helped give them a different vibe, and especially for Ringo, a different sound.
The Beatles were absolute Bridge Masters...instead of merely varying from the repetition, they always took the song to a new height, and usually an unexpected one that made the whole experience deeper and richer. My favorite bridge, off the top of my head- ...does "I'm so glad..."...from "I Feel Fine" qualify? If not, I'll go with "Nowhere Man". And again, if it qualifies, the mostly instrumental bridge to "Fool On The Hill" (not the repetition of the melody, the "round and round" one) ...and both bridges in "Because", including the wordless one.
@@SurferJoe1 I heard it was Paul when I watched a tutorial. I'm not into Beatle minutiae so I thought it was George. It's a tasty part whoever played it.
Baby's in Black. "Oh how long will it take 'til she sees the mistake she has made...." Also Don't Bother Me. "And I know she'll always be, the only girl for me."
Fantastic. I’m an amateur guitar player and I love learning how things work, especially in music. (my favorite high school experience was 2 years of music theory. I loved it.) I'm a closet music geek. Plus don't tell anyone. It's very embarrassing. 😊 I'll go over to nebula and check out more of your stuff…the LP versions of your RU-vids. I want more. Thanks for a fun, entertaining and insightful look at Beatles music. I'll be back.
I love No Reply :) Beatles for Sale is imo a really underrated album. That 'I Should Have Known Better' is also such a satisfying bridge - I couldn't help but sing along as you just really have to resolve that phrase (I'm not a music theory person) - that part where it jumps during the 'when I ask you to be mine' is just kind of scratches my brain. If we're talking other favorite 'bridges', I've always been partial to 'For No One'...for some reason I always associated it in my head with 'In My Life' as it also has a little musical interlude, and it's almost like a darker take on a nostalgia song. It also ends in kind of a weird place, like there was a chord or key change that should have resolved, but it feels intentional. I' realizing because the song goes like this - AABA (with the B being the 'in her eyes you see nothing'), and then has a shorter version -A (musical interlude) B, and, then again into what sounds like the beginning - AAB...and just stops, leaving you hanging. It's really kind of a clever tricks that evokes the feeling of the song. (So maybe the B part is also kind of a chorus as it repeats a few times, like I said I don't really know music theory)
This video ended way too soon! I was enthralled. I was a pre-teen when the Beatles hit America and still have an affinity for their early songs. I didn’t know music theory or structure, but I was very into music and I knew what I liked. And I could tell that the Beatles were special. There melodies and chord choices (I didn’t know about chords at the time, but did know that several keys on a piano could make a nice sound) were so beyond other songs on the radio at that time -even the worst song on one of their albums was better than most played on radio back then. On top of that they were incredibly prolific; the hits just kept pouring out at an unbelievable rate. It was a very exciting time. The entire Beatles catalog is part of the playlist on my iPhone to this day.
This has been one of my favorite videos you’ve put out. Thanks! Bridges/“Middle 8’s” are awesome! Thanks for the reminders too, structural exceptions that still fit in the form of the tune, even if it’s not 12 bar blues, per se. Also, at 36 and a music teacher, I have loved The Beatles since I was about 4 years old, when my ma blessed it up and blasted “I Wanna Hold Your Hand.” I didn’t know until many years later how integral the band would be to my own musical life…which started to explode in my head right at the age of 12 1/2 - 13- when the “clique ego” starts setting in . I wasn’t “allowed” in to my friends’ three piece punk band, so I was like “Okay, I’m just gonna start playing all those instruments and record myself.” Fast forward ~24 years later, I’m trying to do what you do- teach, esp. the youth music appreciation, and I’m very proud of this. Thanks for being such an inspiration, Aimee!
Came here from David's video and as a diehard Beatles fan I like your selections. No reply is one of my absolute favorites, it just sounds so powerful. But another bridge I really love is "This Boy", the harmonies are fantastic.
When listening back to the popular radio music I grew up with in the 80's and 90's, and what my parents played me from the 50's and 60's, there are many great verses, and great choruses. But the ones with the great bridges are the songs that truly stand the test of time. The Beatles were top tier at building them.
Great video - lots of content - I know (and can sort of play) most of the Beatles numbers. Your perspective on the bridges highlights a key to why their music is so eternally good.
Great video. One of my favourite bridges is the one in Don't Let Me Down. Just four bars, but the sheer amount of beauty concentrated within is what made Beatles so unique. You could even compose a whole new song based on that short bridge alone and it will be a cracker.
Aimee can you just offload to a private video site and redirect to...oh, Nebula! That makes sense. It's too valuable what you're doing and has been valuable to me. Thank you.
Once a year Sirius Radio does a program of the top 100 Beatles songs as determined by the listeners. On a recent road trip I listened to the entire program and it was amazing how many melodies were familiar. The top song two years in a row, maybe longer than that, was predictably Hey Jude. One of my personal top songs was Helter Skelter, with all the sad associations with the horrendous Sharon Tate murders. It is very difficult to separate the two but it is possible and may be just a generational association. An amazing over the top song with all of the sonic wizard magic they and George Martin were capable of. Now I have to decide where the middle eight of that song lives!
"I'm Looking Through You" Is an example where it can take a good song and make it a great song. 'Why, tell me why..' was added after Anthology version.
Marvelous as usual. Aimee. And your version of Over the Rainbow was magical even though you were just playing through it. There was something very special about it. Happy New Year my friend.
I love your video lessons. You teach me music via the music that I can understand. You are an insightful teacher, and I have played sax for many years. I plan to learn more from your video lessons and Nebula.
Loved the video on many levels. Thank you! Your examples from In My Life got me thinking about the vocals in "You Won't See me." I know, different topic. How these guys who couldn't read music and never studied harmony, could put together such a complex vocal bridge is something for the ages. Contrary motion, forming the triad repeatedly as the parts move. Masterful, and with no formal knowledge.
Aimee, you are such a sweet heart. Can’t you make a video how the Beatles harmonized these amazing backing vocals. As 67 I hope I am not to old to build in this technic into my own songs. Greatings Peter ❤
As a major Beatles fan, I am always skeptical of song analysis, but not here! Great topic to bring up to begin with, and masterfully done with great examples-
