Showing posts with label All Together Now. Show all posts
Showing posts with label All Together Now. Show all posts

Monday, 2 December 2013

10:26 Piggies (pt. 2) - Doing It For The Kids


We noted last time that Piggies is an Orwellian flavoured faux-baroque song. And yet the (small) kids love it. BSA reader Justice speaks for many when she writes “I always loved the sound of this song. It's also one of the first Beatles tunes I remember hearing as a kid - back then, I sat wondering who on earth would seriously write a song about 'piggies'. Then of course came the day, several years later, when I listened to it again, and the social commentary 'lightbulb' finally came on. I had to chuckle at myself”. What makes such a dark song so child friendly?

Lyrically George selects a childish vocabulary - not pigs but piggies. There's a sense not only of the absurd – pigs wearing shirts and having wives! - and a sense of naughtiness – smacking bums (they need a damn good whacking) and these pigs eat bacon! - cannibalism may be a dark subject, but kids feel clever getting the joke.

Repetition plays a part, not just in the lyrics (“piggies” occurs 7 times in 3 verses) but in the melody too. The cell of

C Db Eb C (have you seen the)

is repeated a scale tone lower

Bb C Db C (little piggies)

then repeated a scale tone lower again with one extra note

Ab Bb C Ab Eb (crawling in the dirt)

And then the whole sequence is repeated with only the final note altered. This predictability renders the melody singsongish and nursery rhymey.


This blend of clear melodic patterns, simple vocabulary and a bit of 'naughtiness' is what has made the Beatles kid-friendly for decades. At their best, something like I Am The Walrus (which 10 yr old guitarists beg me to teach them) has a 2 note melody (I am he as you are he), jokes like “Boy, you been a naughty girl” and rudeness (you let your knicker down)*. Even the weak All Together Now has something risqué (can I take my friend to bed?) buried in the simple skipping song. The genius is that in every song there is something for the adults too. And the 5 yr old hooked on Yellow Submarine has every chance of growing into an adult mesmerised by Tomorrow Never Knows.

So here's a thought – try writing for kids**. Use repetition, clear melodic patterns, simple vocabulary and grammar with some ridiculous concepts or or words. And don't forget to add something naughty!

*And pigs again! (See how they smile like pigs in a sty).
** And in a beautiful twist of fate, this will be Ticket To Write 64!

Thursday, 2 December 2010

The Band Who ... Lived Outside





In my recent guest post for songwriting scene I let slip the remarkable fact that the very melodic and accessible Beatles only stayed in key for a remarkable 22 songs out of 186. Well I spoke too soon. I was looking primarily at chord progressions. When I factored in the actual vocal melody the number dropped to an incredible 16!

That right,

16 out of 186.

Here’s the list (with primary authors) followed by a breakdown and some ‘also rans’.

The 16 in key songs



All Together Now - M
Dig It - LMHS
Don’t Let Me Down - L
It’s All Too Much - H
Long Long Long – H
Love You To - H
Misery - LM
Not a Second Time - LM
Paperback Writer - M
Rain - L
She Said She Said - L
Thank You Girl - LM
The Inner Light - H
Tomorrow Never Knows - L
Yellow Submarine - M


The first thing that stands out to me is that percentage-wise Harrison (and Starr!) are over represented - I think. (Help me out with the maths someone!). 4 Harrison tunes (It’s All Too Much, Long Long Long, Love You To, The Inner Light) might not seem a lot but he only contributed 21 (and a quarter!) songs in 7 years).

There are 2 kids songs (All Together Now, Yellow Submarine), 1 throwaway track (Dig It) and 3 ‘Indian’ songs (Love You To, The Inner Light, Tomorrow Never Knows).

There's more. Don't assume 'in key' means in the major or minor scale. Paperback Writer, Rain, She Said She Said, The Inner Light, Tomorrow Never Knows are in the Mixolydian mode throughout and Love You To is built exclusively on the Dorian mode.

Are You Sure?


If you’re surprised about Rain (which sounds major but for McCartney’s bassline) and Love You To (which sounds Mixolydian) – so was I!

Both song mess with your head by omitting a note, but tricking you into thinking you've heard it. By leaving out the 3rd but using the major 6th, Harrison cons you into thinking you’ve heard the major 3rd as well. Rain’s chord progression of G C D5 has you mentally filling in the missing F# (in the D chord) simply because you’ve heard that progression a million times.

And The Runners Up Are...


And I Love Her stays in key for most of it’s length but blows it with a key change from E to F and then a weird final chord.
Goodnight loses it in the instrumental interlude (which to be fair may be arranger George Martin’s work)
In Spite Of All The Danger stays in key, but also stayed unreleased till Anthology.
I’ve Just Seen A Face would have made the list but for a G natural in the guitar intro.

2 more would have made the list but for bluesifying the melody, (Ticket 22) namely, Starr’s Don’t Pass Me By and the harmonica opening of Love Me Do.

So what?

Let's Get Lost


There’s no getting away from it. The Beatles songwriting career was one long mission to escape from the straight-jacket tonality of major and minor scales (whether they were conscious of it or not).

Think I’m making something out of nothing? Here’s your assignment. Out of your next 18 songs, only 1 of them can be in a major or minor scale.

Let me know how you get on!

Related post: The band who needed no introduction