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Because (The Beatles) | Behind the Score (Ep. 39) (Patreon)

Published:
2023-04-25 02:17:48
Imported:
2023-05

Content

I'm pleased to offer this little history lesson and harmonic breakdown of Because by The Beatles. 

I, of course, have heard the song many times...and have joined in the singing with the band. But, this is my first time really digging into the harmonies. I was especially interested in Lennon & McCartney's odd resolution (and lack thereof) of a diminished chord.

I hope you enjoy!

Unlisted Vimeo Link: https://vimeo.com/820670459/4c598f2075?share=copy

Files

Because (The Beatles) | Behind the Score (Ep. 39)

This is "Because (The Beatles) | Behind the Score (Ep. 39)" by Doug Helvering on Vimeo, the home for high quality videos and the people who love them.

Comments

Bill Coonley

After 50-plus years of listening to "Because", I can't imagine a different transition from D to D6 (transient F sharp) to D Diminished then to C Sharp Minor. The Beatles always followed their own rules.

Bill Brinkmoeller

Thank you, Doug. I think this song is one of the most sublime in The Beatles' canon. Sometimes, the sheer beauty of it can move me to tears. Now that you've explained the unusual and arduous path they took to arrive at it, I only love the song more.

Michel Paré

Great job doug on one of the mots beautiful songs of the Beatles…

Peter Tutak

That A7 chord is where the magic begins to happen in this wonderful piece, one which I think is the 'proggiest' of their entire canon. Thanks, Doug !

doughelvering
>>107127534

Yes…we don’t often get V7/bII, but they made it work. Most often, that A7 would be an enharmonic German Augmented Sixth chord

George Davis-Stewart

That was really informative, thank you, Doug. From your background read-in to your pondering on the trained composer vs. the naive dabbler (and, by implication, that George Martin did not 'correct' John Lennon's course), we got a great walk-through of just how complex something so short and sweet actually is.

Jeff Norman

I think another reason the resolution from the Ddim to C#m works is that...as you said, one way to resolve that diminished chord would be to A major (A-flat to A, F to E, D to C#). Of course, C#m has two of three notes in common with A major—so the A-flat just stays where it is (to enharmonic G#) while the other two notes of the chord do (more or less) resolve as expected (after the pickup chord on "be-" in first inversion). So unusual as it is, between the common tone and the fact that two of the three voices DO resolve as expected, the ear is less bewildered than perhaps it might be. John was such an amazingly intuitive writer—as you suspect, he had no formal musical training, but his instincts were astonishing.

BRIAN MILLER

Well done. Thank you.

BRIAN MILLER

Also, thanks for the lyrical analysis. I don't think it ever occurred to me before that "because the sky is blue, it makes me cry" was using the term blue like a person is blue / depressed.

DJ Marquis Marc Rambeau du Tacoma

Stephen Colbert on his Late Show has a bit where he asks his guest 15 questions that will truly reveal the inner being of said person. One of the questions is: If you could listen to only one song for the rest of your life (but, only when you wanted to), what would it be? My answer: Moonlight Sonata. I wish I knew why. I didn't pick a Beatles song (I was born in 1962 and had my first radio two years later) or Led Zeppelin or Pink Floyd. What's going on?

Thom P

I had so many questions as you were going through this and you answered them all. John, like the rest of the Beatles had as much musical training as I - which is none (other than from you:) I wondered how they could write something that fits all of the "rules" then break out of them in a new and different way. Gut. Intuition. "Magic." It's an expression I use when I am composing a piece. I know it is not right "until the magic happens." Completely unscientific, but I have the tools without the toolkit. It always sounded a bit silly, but hearing you say it warmed my heart. Thank you for showing me things that after countless listens since 1969, I have not heard before. Thank you for helping me understand how an untrained musician can make such incredibly magical music, while helping to affirm my own process. Magnificent as always, Doug.