markus heuger's
beabliography

Beabliography

Abstract 0380

McCarthy, Len (2001), "Slow down! How the Beatles changed the rhythmic paradigm of pop and rock." In: Yrjö Heinonen, Markus Heuger, Sheila Whitely, Terhi Nurmesjärvi and Jouni Koskimäki (eds.), Beatlestudies 3. Proceedings of the Beatles 2000 conference. Jyväskylä: University of Jyväskylä (Department of Music, Research Reports 23), 2001, 215-230.

It has been observed that from late 1965-1970, the Beatles' approach generally fell outside of "the social dance tradition" that dominated the previous Top 40 (Birchall 1969, Gillet 1972, O'Grady 1979). Although the Beatles' work during this period has usually been noted for being strikingly original, and mostly conceived for listening, rather than dancing, very little investigation has acknowledged, let alone focused upon, the tempo of the Beatles' music. By focusing specifically upon the tempos of Beatles songs, and comparing them to British and American Top 40 releases from 1963-1975, this study compares rhythmic orientation, with a view to determining chronology and influence.

The tempo, recording dates (where available) and release dates have been noted of all of the Beatles' output and British and American Top 40 hits. Tempos were determined utilizing a digital metronome. All data was entered into a spreadsheet, and presented utilizing tables, charts and graphs.
Beatles' literature has been examined for any references by the Beatles (or George Martin and EMI recording engineers) with regards to circumstances or intentions that might relate to, or account for, the changes in rhythmic orientation during late 1965-1970.

The majority of songs composed and performed by the Beatles from late 1965-1970 were slower than those they had recorded previously. The use of slower tempos generated a new rhythmic conception — involving regular adoption of triplet, sixteenth note and swing sixteenth note density referents — that had not been present in the Beatles' approach from 1962-1965, which like most popular music in the early sixties, utilized straight eighths, swing eighths or triplets as density referents.

Data concerning the tempo, recording and release dates of British and American Top 40 recordings were analyzed with a view to comparing rhythmic conception and the chronology of any changes in rhythmic conception following the release of Beatles recordings. The Beatles were directly responsible for creating a new rhythmic orientation towards pop and rock, in essence, a new rhythmic paradigm that has since become normative.

References cited:

Birchall, Ian (1969), "The Decline and Fall of British Rhythm and Blues." In: Jonathan Eisen (ed.) The Age of Rock. New York: Vintage Books, 1969, 94-102.
Gillett, Charlie (1972), The Sound of the City. New York: Dell, 1972.
O'Grady, Terence (1979), "Rubber Soul and the Social Dance Tradition." In: Ethnomusicology, 23, 1: 87-84.