alan w. pollack's
notes on ...

Notes on "Here, There, And Everywhere"


Notes on ... Series #96 (HTAE)
  by Alan W. Pollack
       Key: G Major
     Meter: 4/4
      Form: Intro | Verse | Verse | Bridge |
                          | Verse | Bridge |
                          | Verse | Outro (with complete ending)
        CD: "Revolver", Track 5 (Parlophone CDP7 46441-2)
  Recorded: 14th, 16th, 17th June 1966, Abbey Road 2
UK-release: 5th August 1966 (LP "Revolver")
US-release: 8th August 1966 (LP "Revolver")

General Points of Interest


Style and Form

  Next note This song is remarkable for its bitter-sweet tune, clever harmonic scheme, and understated arrangement. It is a landmark triumph of the soft rock genre. No kidding.
  Next note It opens with one of those (relatively rare-for-the-Beatles) ad-lib introductions, but the form is otherwise the classic two-bridge model, with only one verse intervening and no instrumental break.
  Next note The lyrics make a rather John-like structural use of the title words.

Melody and Harmony

  Next note The tune uses a wide variety of rhythmic values to convey an impression of the naturally spoken word. It also manages to maintain a nicely fluid melodic feeling through its mix of stepwise motion, long leaps, rhetorical dwellings on a single note, and some triadic outlines.
  Next note The home key of the song is G Major, but both its relative minor (e), as well as the parallel minor (g) and its relative Major (B-flat) make important appearances. Both Paul and John were fond of these types of key schemes, and there are many songs we've looked at that use one or more of these tricks. This is a particularly rare example in which all of them are used in the same song. Granted, in the formal context of the two-to-three minute song, there is relatively little room for the full-fledged modulations you'll find in larger forms, but this in no way precludes a more furtive and no less restless exploration of alternate tonal centers.
  Next note The opening measures of the verse make use of a jazzy chord stream of the sort that harkens all the way back to early numbers like "Ask Me Why" and "P.S. I Love You".


  Next note The arrangement subscribes to the aesthetic of "less-is-more", with restrained yet carefully placed details in all departments. This accomplishment is made to seem ironic and all the more impressive given the extent to which Lewisohn reports they fussed over the arrangement in the overdub stage. Even without access to the bootlegs of so-called Monitor Mixes, you can get a feel for this by simply listening to each of the stereo tracks on the official release one at a time.
  Next note Paul's lead vocal was recorded on the low and slow side in order to make it sound higher and much whispier on playback. Both this lead vocal and the lead guitar licks of the bridge are selectively double-tracked. You'll note places in which the second track either drops out or provides a harmonization with the primary track. Enjoy discovering these for yourself!
  Next note The backing vocals provide their much talked about, deceptively simple block harmonies on the phoneme, "ooooh". The slight changes they make in their articulation of the chord changes in measures 5 and 6 of the verses make these backing vocals sound somewhat instrumental. And in the instrumental area we have a subtle patterning of the guitar chords, and a bunch of just-right gentle touches in just the right places from Ringo. Did you ever notice, by the way, the addition of finger snaps in the final verse and the outro?

Section-by-Section Walkthrough



  Next note The intro gives away, in its first two chords, the secret of what will soon unfold as the songs characterizing harmonic restlessness. The B-flat chord provides a pleasantly surprising cross relation against the B-natural of the preceding G-Major chord, and also foreshadows the later flirtation with this "relative Major of the parallel minor" that will appear in the bridges:
      |G           |B-flat      |a           |D           |
   G:  I            flat-III     ii           V

   [Figure 96.1]
  Next note There's an interesting comparison to be made between this intro and the one from the much earlier "Do You Want To Know A Secret".


  Next note The verse is a fairly traditional eight measures long, though its phraseology contains some subtle internal patterning. The overall structure is 2 + 2 + 4, AAB, but the B section is itself subdivided into its own AAB, though the durations are halved down to 1 + 1 + 2.
  Next note The harmonic structure of the verse opens up to V after flirting in the second half with the relative minor, e. According the "stricter" theorists who argue that the home key isn't officially established until both I and V have been exposed, this verse doesn't establish G Major until its very ending:
      |G           |      C     |G           |      C     |
   G:  I                  IV     I                  IV
                                                e:  VI

      |f#    B     |f#    B     |e     a     |C     D      |
       ii*   V      ii*   V      i
                             G:  vi    ii     IV    V

   [Figure 96.2]
  Next note The chord on f# in measures 5 and 6 (indicated by *) is a so-called "half-diminished" seventh; i.e. the triad itself is diminished (F# - A - C) but the seventh (E) is minor. I "grep" in vain, through all the preceding notes in this series, to find another use in a Beatles' song of this somewhat jazzy chord type.


  Next note The bridge is six measures long, strictly speaking, but the phrasing of the melody and words elides right into the start of the next verse based on a repetition of the second part of the first phrase, and this obscures your perception of where the actual section boundary is:
           |B-flat g     |c     D     |g           |c     D     |
   B-flat:  I      vi     ii
                      g:  iv    V      i            iv    V

   [Figure 96.3]
  Next note Stepping into B-flat at the beginning of this section is, indeed, a "deceptive cadence", and feels at first as though a fourth dimension opens up. The slip into g minor delivers a melancholy twinge, yet the deceptive cadence back into the parallel Major at the start of the next verse is akin to the feeling you get on a day when the sun comes out in late afternoon, just when you've resigned yourself to the day being a cloudy one. Paul evidently was proud of this trick, as he would play it over again, almost identically in the "Two Of Us".


  Next note The outro is built on top of the first half of the verse section, but this last time Paul provides a different melody for it, one that is set to the words of the title. This special effect lends a sense of closure and summarization to this outro. We've seen something very similar to this in "Michelle", even though the latter song ends with a fade-out.
  Next note The outro finishes off the song harmonically on a "plagal" cadence; i.e. I -» IV -» I. Don't underestimate the extent to which the absence of the V chord at this juncture allows the music to end on a more laid-back note than it would with the V chord. Try the alternative out in your head if you don't believe me.

Some Final Thoughts

  Next note It seems like the number of resonances spotted in this song to other McCartney efforts means this one is either unusually pregnant with resonances, or else we've been writing this series too long :-)
  Next note In any event, I save my favorite free association, this time, for last. Now, this song is characterized by the following gesture that opens each verse: a declarative word, followed by a pause, and then rhythmically active ascent in the tune, as in — "Here (pause) making each day of the year ..."
  Next note An informal page-through of the collected lyrics of Mr. McCartney reveals the following list of other examples of the same, or at least similar, gesture. Granted, the grammar of all of these is not the same, nor is the melodic contour of the consequent phrase, but still, I think these are interesting, and some of them are unmistakable:
  • Listen (pause) do you want to know a secret
  • Eleanor Rigby (pause) picks up the rice
  • Day after day (pause) alone on a hill
  • Hey Jude (pause) don't make it bad
  • Hold me tight (pause) tell me I'm the only one
  • Honey Pie (pause) you are making me crazy
  • The long and winding road (pause) that leads to your door
  • Michelle (pause) ma belle
  • Oh darling (pause) please believe me
  • Try to see it my way (pause) do I have to keep on talking
  • Look (pause) what you're doing
  • When I call you up (pause) your line's engaged
  • Yesterday (pause) all my troubles seemed so far away
  Alan (112894#96)
Copyright © 1994 by Alan W. Pollack. All Rights Reserved. This article may be reproduced, retransmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place.