Hi! I've been following your amazing blog for a while but I still don't understand some of your tags like '1st verse', '2nd verse' and so on...
Hello, dear anon!Â
Iâm so glad youâre enjoying the blog! And donât worry, my tagging system has gotten so complex and convoluted that it often causes confusion even in its own creator!Â
The initial motive behind the creation of this blog was essentially the need to organize all the information I was gathering on the amazing duet of Lennon/McCartney. Itâs telling of how my understanding of them grew â so much so that I keep noticing new levels and facets to their dynamic â that I have to continue coming up with new tags. You can see that some of the more recent posts have a lot more of them than the early ones. In a perfect world, I would go back and update my entire blog. But that, as you may guess, would be rather time-consuming. Someday, perhapsâŚ
But other than categorizing the personally perceived patterns between them, I find it is also extremely useful to give a chronological context. So the tags you referred, for example, concern certain phases of their lives, specified when possible with the exact year.Â
I tried to create an index page in my blog, to help perusers (and me) keep track of all the tags and their meanings; Sheet Music, for when we get lost in the song.Â
Iâll post a copy of it here, though Iâm afraid it is not exactly up-to-date. Iâll try to add all the newer tags as soon as possible. Meanwhile, I hope this helps!
Sheet Music
Sheet music can be used as a record of, a guide to, or a means to perform, a song or piece of music.
In other words, an attempt at somehow organizing and facilitating the understanding of the incredible symphony at play.
As much for my benefit as for yours.
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Texture
In music, texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall quality of the sound in a piece.
A rather subjective (and at times inconsistent) classification of the mood or dynamics involved in the interaction. An amalgamation of possible patterns. Â
But the only â the person I actually picked as my partner, who Iâd recognised had talent, and I could get on with, was Paul. Â | Â [The general tag for the Lennon/McCartney.]
You know, like women these days want to get away from their husbands, get a life of their own. It was a bit that. Because with The Beatles, it was a bit like a marriage. Â |Â [The analogy they decided to go with.]
And if I say I really knew you well / What would your answer be? / If you were here today  |  [Trying to make sense of your partner with the benefit of hindsight.]
I donât examine myself that way. I just am. I just go through it. I just wake in the morning and go to bed at night and whatever happens during the day just happens. I donât really know how I am. Â | Â [Paul introspecting.]
The therapy is like a very slow acid trip which happens naturally in your body. It is hard to talk about, you know, because you feel âI am painâ and it sounds sort of arbitrary, but pain to me now has a different meaning because of having physically felt all these extraordinary repressions. It was like taking gloves off, and feeling your own skin for the first time. Â | Â [Johnâs self-examinations.]
But when we were in private and together, there was no need for that. I could just often be the âbaddieâ in a situation, and he could be a real soft sweetie, you know? Â | Â [Paulâs hard side and Johnâs soft edges.]
And if I say I really loved you / And was glad you came along / And you were here today / For you were in my song  | [Their letters to each other.]
But we always came back to the song we were singing / At any particular time  |  [Through the music of other artists.]
Why didnât anybody ever say, âHow come those guys donât split up? I mean, whatâs going on backstage? I mean, what is that Paul and John business? Why â you know, how can they be together so long?â Â | Â [Inside hinting and outside wondering.]
The plus is that your best friend, also, can hold you without⌠I mean, Iâm not a homosexual, or we could have had a homosexual relationship and maybe that would have satisfied it, with working with other male artists.  |  [Wonderings about sexuality.] Â
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    Major Key  |  [Happiness, cheerfulness, confidence, brightness, satisfaction.]
Whatever bad things John said about me, he would also slip his glasses down to the end of his nose and say, âI love youâ. Thatâs really what I hold on to. Thatâs what I believe. The rest is showing off. Â | Â [Each time they use that word in relation to each other.]
Itâs that you were so close and so in love that if anyone decides to start talking dirty â great, then Pandoraâs box is open. Â | Â [Saying they were âin loveâ.]
When youâre the best friend a man ever had? Â | Â [Besties doing besties stuff.]
And when I touch you / I feel happy inside / Itâs such a feelinâ that my love / I canât hide. Â | Â [Touching is good.]
Did I ever take you in my arms, / Look you in the eye, tell you that I do  |  [The eye contact thing they used to do.]
Hey youâve got to hide your love away  |  [When only one of them is gazing.]
He looked like Elvis. I dug him. Â | Â [John showing his appreciation for Paul.]
The thing you must remember is that Iâm the number one John Lennon fan. I love him to this day and I always did love him. Â | Â [Paul appreciating John.]
We wrote our first songs together, we grew up together and we lived our lives together. And when weâd do it together, something special would happen. Thereâd be that little magic spark. Â | Â [Pressing just how special their relationship was.]
The deal was, he could say that but if you said that, if you or anyone said anything bad about Paul, Johnâd take a swing at you. Heâd say âyou canât talk about Paul like thatâ, Paul was his best buddy. If you were talking to Paul and youâd say something derogatory about John, heâd get up and leave. (âŚ) You werenât allowed to say anything bad about Paul or John to the each one of them because they would defend each other, which I liked, I thought that was great because you knew they were connected at the hip.  |  [Being protective of each other.]
People start these rumours: âHe was this, he was that.â I say: âLook, Iâve slept with him.â Weâve done hitch-hiking holidays and weâve had to top and tail it because there was only one bed. I say: âI knew himâ. Â | Â [Sharing quarters.]
Home. Family. Love. Â | Â [Paulâs married life.]
You may say that Iâm a dreamer / But Iâm not the only one  |  [John, the Romantic.]
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   Minor Key  |  [Sadness, darkness, sullenness, apprehension, melancholy, depression, mystery.]
I know whatâs coming down / And I know where itâs coming from / And I know and Iâm sorry (yes I am) / But I never could speak my mind  |  [Communication issues.]
I donât believe in Beatles / I just believe in me | [Johnâs disillusionment with people he places on pedestals.]
I was feeling insecure / You might not love me anymore / I was shivering inside / I was shivering inside / Oh I didnât mean to hurt you / Iâm sorry that I made you cry / Oh my I didnât want to hurt you / Iâm just a jealous guy  |  [Possessiveness over the other.]
I was trying to catch your eyes / Thought that you was trying to hide / I was swallowing my pain / I was swallowing my pain  | [An accumulation of perceived rejections and disregards.]
Last year John said he wanted a divorce. All right, so do I. I want to give him that divorce. Â | Â [The Breakup.]
Tell me why, why, why do you make me so sad, so sad / When youâre the best friend a man has ever had? / Well, I wake up in the morning, Iâm still dreaming âbout you / I tell you, pretty baby, Iâm blue / Wake up in the evening, Iâm still screaming out / Over you, over you | [Break-up depression and other hidden wounds.]
But as for me, / I still remember how it was before, / And I am holding back the tears no more | [Grieving and mourning.]
I still canât come to terms with it  |  [Processing death.]
John, come on baby, did yaâŚ? Yes!. No, I think he did, yeah. It wasnât actually a spiky relationship at all. It was very warm, very close and very loving, I think, of all The Beatles. | [Their standing with each other.]
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   Times & Places  |  [Some special landmarks.]
What about the time we met? / Well, I suppose that you could say / That we were playing hard to get  |  [First audition.]
That spring of 1960, John and I went down to a pub in Reading, The Fox And Hound, run by my cousin Betty Robbins and her husband. We worked behind the bar. It was a lovely experience that came from John and I just hitching off down there. At the end of the week, we played in the pub as The Nerk Twins. Â | Â [A little vacation.]
After a late lunch, Linda launched into a long paean to the joys of living in England. When she was finished, she turned to John and said âDonât you miss England?â, - âFranklyâ, John replied, âI miss Paris.â  |  [The City of Love.]
Thereâs something disturbing about it. You ask yourself, âHow do you come back from it? How do you then lead a normal life after that?â And the answer is, you donât. Â | Â [LSD.]
On the road to Rishikesh / I was dreaming more or less  |  [What happened in India?]
John had given me a sort of love of Scotland. Â | Â [Highlands refuge.]
We thought weâd do a number by an old estranged fiancĂŠ of mine, called Paul. Â | Â [The Lost Weekend.]
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Form
The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections.
An effort to give some sense of chronological order and circumstantial context to the events.
May be navigated by year, both of the piece of information itself and/or the period it is referring to.
Or explore it in the following rough attempt at sectioning their duet, give the song structure.
The Introduction is a unique section that comes at the beginning of the piece. Generally speaking, an introduction contains just music and no words. It usually builds up suspense for the listener so when the downbeat drops in, it creates a pleasing sense of release. The intro also creates the atmosphere of the song. Â | Â [1957 - 1960]
The Pre-chorus is an optional section that may occur after the verse. Often, when verse and chorus use the same harmonic structure, the pre-chorus introduces a new harmonic pattern or harmony that prepares the verse chords to transition into the chorus. Â | Â [1960 - 1962]
The Chorus contains the main idea, or big picture, of what is being expressed lyrically and musically. It is repeated throughout the song, and the melody and lyric rarely vary. It refers to passages of unchanging music and text providing a periodic sense of return. Â | Â [The songwriting]
The Verse is to be understood as a unit that prolongs the tonic⌠The musical structure of the verse nearly always recurs at least once with a different set of lyrics.
1st Verse  |  [1962 - 1966]
2nd Verse  |  [1966 - 1967]
The Bridge is a device that is used to break up the repetitive pattern of the song and keep the listenerâs attention⌠In a bridge, the pattern of the words and music change.  |  [1967 - 1968]
The Elision is a section of music where different sections overlap one another, usually for a short period. It is designed to create tension and drama. Â | Â [1968 - 1970]
3rd Verse  |  [1970 - 1979]
The Outro of a song is a way of ending or completing the song. It signals to the listeners that the song is nearing its close. Â | Â [1979 - 1980]
The Solo is a section of a piece played or sung featuring a single performer. Â | Â [1980 - Present]
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Performers
Rather easier tags to manage, relating to the people involved.
Main
Johnny
Macca
Geo
Ritchie
Backup
Linda McCartney
Yoko Ono Lennon
Brian Epstein
George Martin
Mal Evans
Neil Aspinall
Pete Shotton
Stuart Sutcliffe
Cynthia Lennon
Jane Asher
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Instruments
The medium in which the information is available: quotes, illustrations, photos, GIFs, audio or video.
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Original Pieces
My stuff | [General tag]
Addendum | [Additions to other peopleâs posts]
Asks me why | [Reply to asks]
The Epistolary | [A compilation of their letters to each other, i.e. their songs]
Exploration of Emotional Entanglements | [Meta-analyses]
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[Note: This page will probably need frequent updates and clarifications. Most classifications are personal opinions and for the purpose of personal pleasure. Please pardon any lapses.]























