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Music as a language 2
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Glad I hit the spot, Jung. That Schroeder vocal part is originally from a 1967 musical play called “You’re a Good Man, Charlie Brown”, featuring future M*A*S*H star Gary Burghoff in the title role. I’m pretty familiar with it because my brother played Linus in my high school’s production of it. I know you’re kind of into Peanuts stuff, so you might enjoy whatever you can find from it on YouTube.
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Thanks David! There is definitely an intangible aspect that makes a song great and make you want to listen to it over and over again. When I discovered MLT and When We’re Together, before Orange, I listened to that album over and over again on the train and car, and when Orange came out the same with that album.  No matter how many times I experience it, you never tire of it, and get a nuanced new experience or feeling out of. That’s what great music is. -
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Hi David! What a fascinating story. It’s amazing what the Beatles did experimenting in the studio to get that right sound for their songs. Splicing take 7 with take 26, playing around with the speed to vary the tempo and key , and finding the perfect splicing point to mask the change so it would be unnoticeable even to John Lennon’s keen ears. If they had gone with that last take 26 by itself or gone with take 7 alone, Strawberry Fields would not be that magical sounding song that it is. John just decides hey, why not just combine the two versions! When I hear the sample of take 26, it just does not sound right, kind of flat.  John has such discerning feel for his music that he knew the song was not right the way it was, and that made him the genius he is. It’s these kinds of magic feat in music production in the studio that made the Beatles who they are. And it was certainly team work as George Martin had the technical know how to work with John’s instinct.
The Beatles were a perfect storm of creativity together between the input and collaboration that went on between Paul and John’s song writing brilliance, and George’s guitar brilliance and Ringo’s drumming brilliance and George with his music theory brilliance. They were greater than the sum of their parts.
Thanks for sharing that video.
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David Bennett explains augmented chords:
https://www.youtube.com/watch?v=Ys6SDpBgWzc
I don’t know how many people find these videos interesting, but this guy really has a knack for demystifying music theory.
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I like all of David Bennett’s videos, some really great ones on music theory he’s done.
Too bad that video disappeared, would have liked to see it. -
It’s back! I posted the new link.
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David, nice video, thanks for posting it. One of the great things about these David Bennett videos is that by analyzing the internal mechanics, the music theory, behind why these great classics sound like they do gives you an appreciation for the talent that went into the song writing. I would think in most cases the Beatles did not necessarily write a song thinking about creating “line cliches with augmented chords”, to give a “cohesive and satisfying feeling” to the song, but a lot of it was from musical intuition and a feel for what sounds good for expressing a certain emotion like tension. But then George Harrison referred to the augmented chord structure, as “naughty chords”, so that makes me think the Beatles understood why these chords are different and had a good grasp of musical structure and theory to get the effect they were after.
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