Just Wish I Could Read An Article That Praises Paul Yet Doesn’t Crap On John. I’m The Member Of About

Yes another McLennon analysis where Paul is warm and flawless and John is a reclusive bastard who couldn’t relate to the world. I’m so bored of this now. They were both geniuses. Would it kill anyone on this platform to acknowledge this?

"The world going by my window" – A Lennon-McCartney Microcosm

Or: Over-analysing the melodic and harmonic structure of one line from The Beatles' "I'm Only Sleeping" (1966) and discussing how it reflects the very essences of the musicians and people singing it.

Preface: The following is an extremely self-indulgent deep-dive into one of my favourite moments of harmonization in musical history. It is both a relatively music theory-heavy analysis (though relevant concepts are explained with visual as well as audio examples) as well as a free-form riffing on what distinguishes Lennon from McCartney as a composer on the one hand, and what distinguishes Paul from John as a person on the other. Of course, like the duo's melodies intertwine, so did their lives.

DISCLAIMER: I think it's lovely how the music reflects their lives but that doesn't mean I think the music was created because it reflects their live (irrespective of artistic intention).

1. Homesy John and His Strange Close Melodies

"Keeping an eye on the world going by my window" forms the beginning of the bridge of "I'm Only Sleeping". John, the main songwriter and lead vocalist of the track, sings a tight melody, which is sprinkled with several dissonances.

For those who don't know, dissonances occur either due to a dissonant interval – that is, when two or more notes that don't "go together" are played at once – or when a note that is not part of the current key is played.

In this example, the dissonant interval (on the left) is a second, that is the two simultaneously played notes are very close – so close that stacking their notes on sheet music becomes awkward, as seen above. The dissonant note is a B note (on the right), which has been elevated up a half-step from B♭ (in the middle), through usage of the ♮ symbol, preceding the note. B is not part of the usual 7 notes of the key, and thus adds a feeling of displacement within this harmonic context. You can listen to the interval as well as the transition from B♭ to B in the following file and notice the sense of discord these note combinations tend to invoke in a listener.

Now, back to John's melody:

Just looking at the score, we can see how close together John keeps everything; there are no larger jumps. He favours small intervals, even using dissonances to reduce the distance his voice has to travel to a minimum. The dissonances give a feeling of strangeness to the overall melody.*

*(arguably it isn't that strange, since he is following a blues scale, which includes notes considered "dissonant" in classical music theory; that being said I would argue that the frequency of the note-usage in this particular line is still of note in the context of this song and The Beatles' general discography.)

This is, in my opinion, one of the staples of John's melodies. Think of the intro to If I Fell, or even the siren-inspired wail of the I Am The Walrus verses. These are all close melodies that have at least somewhat dissonant qualities.

It is also an interesting reflection of him and his mid-60s situation. With his early-twenties behind him, John was known to have become more reclusive during this time; going out less often, preferring the comfort of his private home. Simultaneously, his interests became more eccentric and he began finding it more difficult to relate to "ordinary" people, for reasons ranging from disillusionment with society as a whole to mental health and addiction issues. Just like his melodic lines, he built a strange surreal world for himself, without stepping too far out his comfort zone.

2. Adventurous Paul and his Warm Leaps

"Keeping an eye on the world going by my window" is also the moment in the song where Paul, who up until this point was a mere co-background vocalist, is briefly promoted to co-lead. For the first part of the line – up until the word "world" – he joins John in unison, before breaking off to find his way to the highest note of "I'm Only Sleeping".

Unlike John's melody, Paul's unique part is much warmer and features no dissonances. This doesn't make it less complex though; for one, it covers a range that is two half-steps wider than John's melody and features the largest interval jump: a perfect fourth ("my win-[dow]").

Paul's songwriting is known for its wide tonal palette, his outstanding vocal range making melodic climbs and leaps second nature to him when compositing. At the same time, his tunes have over the years, it seems, almost been faulted for how intrinsically pleasing they are to the ear.

This, in turn, contains traces of Paul's personality; a constant thirst for life, a great skill of adaptability, an ambition that verges on destructive over-zealousness – he has risen too high, where no one can follow, perhaps inadvertently left someone behind. Yet, through it all, he maintains a pleasant sweet nature.

3. (Never) The Twain Shall Meet

Both of these aforementioned melodic lines combine to form a whole in the song (note that because they begin in unison at first only one note is played at a time – that's how pianos work sadly :-( ):

Now before we take a closer look at what happens in the score when these two melodies are united, I'm gonna need to give some background on harmonic arrangement.

Typically, when harmonizing, the most common interval between two melodies is a third (minor or major). The third is considered to be a very pleasant-sounding interval; the notes are as close to each other as possible without sounding dissonant and overall the tone is warm.

See above two melodies set exactly a third apart at each note. It's an adaptation of a Mozart piece I played a few years ago and can be listened here:

The second most typical interval for harmonies is the perfect fifth. It's a bit more "hollow"-sounding, one might say, less warm generally, but does not, as such, sound "wrong" to the Western ear.

(asterisk elaborated further down)

The above sequence can be heard here:

You may be wondering why the two notes in the middle are not a fifth a part. This is because, for hundreds of years, Western music theoreticians have discouraged the use of parallel fifths. This is when two melodic lines maintain a perfect fifth interval between each other over multiple consecutive notes. It's considered to have a harsh and slightly strange sound, and also dilutes the wanted distinction between both melodies.

Here's the same arrangement as above, only this time utilizing parallel fifths.

Again, an audio example – however, this may not sound especially harsh or strange to an untrained ear. (Just know that if Johann Sebastian Bach saw any of this, he would tear the score to pieces!)

Now with all this acquired knowledge, how do the John and Paul's individual melodies in fact form a whole?

(grey highlight denotes unison)

Look at that.

Paul, once mirroring his partner flawlessly, suddenly stubbornly refusing to follow John – whether it be to Surrey, Greece or that natural D-note. Instead, he lingers on the E♭ for a few more beats, as if contemplating. John, on the other hand, repeats the first half's walk-down, marinading in his strange claustrophobic world. Together, they create a dissonant second, two notes in a row, a disturbance.

Then, Paul jumps, and they are both singing in opposite directions; Paul upward and John downward. Only suddenly, it's almost like they've created a healthy distance, a perfect fifth apart.

Next, they start moving in tandem again, both rising, utilizing a dreaded parallel fifth. But it works here – and, notably, sounds a lot better in the song than on my piano recording. As mentioned, one of the problems with parallel fifths is that they keep the melodic lines too similar; however, these lines are not being played by perfectly tuned instruments. These are two men with voices sometimes so distinct from each other, they're described as polar opposites. They bend their notes and the rules of composition to create an otherworldly beauty. The harmonies seem to accentuate the contrast between their vocal styles, but this doesn't worsen the sound in the least. Instead, it seems that it is in their opposite nature that they find each other.

And then, as if coming down from a high, Paul jumps down to join John, a beautiful, warm third above him.

They are one; they are so close they bring out the worst in each other; they drive each other apart; they reach for each other even when distant; and then, when all is said and done, they fall back together in the end.

To finish off I recorded a slower version of the harmony. Come bask in the infinite glory of every single note with me!

"Keeping an eye on the world going by my window."

“Do you get to see much of any city that you visit?”

John and Jane would be great but I also wouldn’t mind Paul and Stu lol. You could cut the tension with a knife lol

Beatle Hypotheticals #19

If you could be a fly on the wall in a broken lift for an hour, which one of the following pairs would you want to be trapped in a lift with and why?

John and Jane Asher

Paul and Brian Epstein

George and Magic Alex

Ringo and Pete Best

Is there another pairing not listed above that you would want to be trapped in a lift with? If so, which pairing and why?

Weekly reminder this never happened. Even Paul said it didn’t happen. John also didn’t go in Paul’s house and smash a painting and he didn’t piss on Nuns. Also I love how John, George and Ringo are painted like some kind of Thelma and Louise type characters out for revenge. Like somehow in the year when they put out some of the best albums in rock n roll history they found the time on Paul’s anniversary to roll up to his house and damage it. Seriously? They had much better things to do (and were doing them!)

Wholesome moment! ❤️ love to see it

(From McCartney by Christopher Sandford)

Such a beautiful friendship! We all need friends who inspire us to push our boundaries of what we think we can do

George Harrison & John Lennon | 1971

"I think that one of the things that I developed just by being in The Beatles was being bold and I think John had a lot to do with that. Because John Lennon, if he felt something strongly, he just did it. I picked up a lot of that by being a friend of John’s. Just that attitude of, 'Well, just go for it, just do it.'" ~ George Harrison

Is this really an argument. Paul is a man and widely accepted as a straight man ( I’m not saying he is straight but widely accepted as one by the public). He is not a victim of misogyny. For the love of God

new hdb haute take: paul is only a chauvinist because society was misogynistic to him first

Finally an acknowledgment that the Eastman dynamic was pretty toxic to the Beatles too, not just Klein. So many people think Paul was offering sone kind of reasonable alternative to Klein when in reality his management offer was his in laws who had no desire to represent the other Beatles and their interests. Klein may have been a bad choice but in my opinion the Eastmans would have been a disaster for the other Beatles in terms of representation

wait re your tags what do you mean by wives of two members having more influence. on the group? or on those two members?

Linda and Yoko were basically the other two Beatles for the remainder of 1969. Everyone talks about Klein and the fact he offered Yoko a successful career being the main reason John stuck with him at all, but Linda was the one who brought her dad into it, and the clash of titans between Eastman vs. Klein was just as big a reason the group broke up as the psychosexual crossfire of Lennon/McCartney, possibly an even bigger one. I’m not saying Linda was scheming in any way, but obviously her father was one of the best lawyers in American entertainment business, and her boyfriend was the biggest rockstar on the planet who was in a shitstorm of legal/money problems. Of course the two would meet, and Linda soon went from black sheep of the family to Golden Daughter.

But as the year went on, the JohnandYokoandKlein monster grew stronger against John Eastman’s aggressive and selfish business tactics. Sure, Klein and the others tried to pressure Paul into going with him, but Eastman wasn’t even remotely interested in taking on the rest of the band (was listening to a 71 Paul interview, and he said his father-in-law wouldn’t have managed the others if they paid him, and Paul still went with him. Hm). Yoko obviously tried to meddle in as much as she could, and John helped her do so; Linda found herself tangled in a web of shit that she originally wasn’t planning to get into, but she’s no pushover and so she went to meetings and was her husband’s only source of strength for the rest of these cockfights (to her own detriment as well).

My point was: where do George and Ringo fit into his? John didn’t turn to anyone in the studio for help except his wife, and Paul confided in no one else except his own spouse and her family of lawyers (who were managing Paul Solo from the start). George’s mother had been diagnosed with cancer that same year too, it was a hard time for him and he had no real voice (and I think patience) to deal with the whole Eastman vs. Klein debacle. George and Ringo went with John and Klein because they were the ones actually giving them what they wanted, not the Eastman-McCartneys.

I can’t believe the nerve of some people. Littlelambdrgnfly’s writing is fire.

That other anon can piss off. The beatles shagged their way through Hamburg, its not like they were sexually immature in anyway?? plus the issue with age gaps is power imbalance which absolutely does not exist in a fanfic about men who are 50 years older than you irl. Please don't get disheartened to write the sequel just because one stupid anon wanted to make you feel bad over nothing (also cause, while I'm really looking forward to the sequel to the sum of them and any other fics you may write, the rise and fall of john lennon is my favourite and the things you've planned for the sequel are so hot!!)

Thank you, that’s pretty much how I felt about writing them at those ages! I mean, I feel like it’d be one thing if I was writing about, say, the kids from Stranger Things, but it’s different when it’s the Beatles because they weren’t inexperienced or sexually immature (except for George lol), they were fully grown men by that point. And it’s not like there are actual young people getting exploited... And also, yeah, I’ve seen way too many friends and even my younger sister get involved with people way older than them to know how weird it is when someone in their late teens or early 20s gets involved with someone in their late 30s or 40s.

I’d be less disheartened if this was the only message I got like this. I know I’m older than a lot of people on this website, but damn, it’s a 60 year old fandom and it’s not like you automatically stop liking what you like once you hit a certain age. I don’t like being thought of as a creep, but tbh, I thought if I was going to get hate, it’d be for the fetish and not my age. If I do a sequel, I may just post it here or maybe make a Patreon, I’m not sure but that’s a long ways off if it happens. Thank you for your nice words though <3

I feel for Paul here and I can see that he is hurt. I didn’t realise until I moved here to the U.K. that there is a whole sub culture of taking the piss out of your friends which at first seemed really mean to me until I realised everyone did it to each other. It could be George wasn’t meaning to hurt Paul but did it unintentionally which to be fair is the story of the Beatles in a nutshell lol

George making jabs at Paul’s work ethic during the Beatles-era and Ringo laughing with him is a whole-ass mood.

—

cr: EMI records & Apple Corps.

This whole quote is hilarious. I know Paul is a smart man so it’s frustrating to see him will fully misunderstood John’s quotes. When he talked about the Beatles being bastards, he’s referring to the fact that they had to be tough and have think skins to withstand the hard core Hamburg days and the insane beatlemania days to make it and survive. And he wasn’t always dark about the Beatles. Yes he was dark in the early days when he was hurting but he mellowed so much through the 70s. It makes me understand why John didn’t trust Paul given his willingness to undermine John in subtle ways so he could get ahead. Also if he’s referencing cynicism and darkness, why does George get a pass. That man was far more bitter about his Beatle days but of course Paul doesn’t view George as his competitor in the same way he does John

Q: Do you have days now when you never once think of the Beatles?

PAUL MCCARTNEY: Oh, yeah. Most days. When the Beatles broke up it was painful to talk about. It was just hard. So you found yourself thinking about it. Now, having come all this way, I can remember only the good stuff. I know one or two spicy stories and I have my bitch now and again, but generally I always did dig it; I always did think that what we were doing was great. Even when we broke up, I never thought like John did. Who knows why he thought that! John’s pretty complex. He possibly didn’t even mean it. All the stuff about how we were “bastards”… He brought out the worst side, as if to exorcise it. But I really didn’t agree. It was pretty good, you know. But there are days when I don’t think about it because I’m doing all sorts of other stuff.

— Paul McCartney, Rolling Stone, March 30th 1979