Eclectic Analysis of “Something” By George Harrison
Step one – Historical Background:
In regarding the historical information pertinent to this piece of music, both George Harrison and The Beatles must be regarded. It is well known that at this point in the Beatles career (1968), the members of the Beatles were writing independently and merely using each other as studio musicians for the sake of recording. I will focus the majority of my historical analysis on George Harrison, as he is the composer of this song. However, I must give some historical background on the Beatles, as they are the vessel that allowed George Harrison to obtain the level of notoriety that he did.
The Beatles were a rock and pop band from Liverpool, England that formed in 1960. The band comprised of John Lennon (guitar, vocals), Paul McCartney (bass, vocals), George Harrison (guitar, vocals), and Ringo Star (drums, vocals). The Beatles went on to become one of the most critically and commercially acclaimed bands in the history of popular music. The Beatles have sold over a billion albums internationally as well as having the most number 1 singles in the history of the UK charts. Ultimately, the Beatles broke up in 1970, and all members went on to successful solo careers. During their decade as a band they released thirteen classic studio albums (of course there are many more variations on albums/compilations/alternate takes). The principal songwriters of The Beatles were Lennon/McCartney who wrote much of The Beatles catalog. George Harrison also wrote for the band. While he may not have created the volume of material that Lennon/McCartney produced, many of his songs achieved critical acclaim.
George Harrison (25 February 1943 – 29 November 2001) joined The Beatles when he was 16; he was by far the youngest member of the group. He gained guitar experience as The Beatles grew in Hamburg and ultimately broke out with their first single, “Love Me Do”, in 1962. Eventually obtaining international success, The Beatles filmed their first full-length movie, A Hard Day’s Night. It was on the set of this film that Harrison met his future wife, Pattie Boyd. By 1965 and the Rubber Soul album, Harrison was developing into a musical director as he led the others into folk-rock, via his interest in The Byrds and Bob Dylan, and into Indian music with his exploration of the sitar. Harrison’s musical involvement and cohesion with the group reached its peak on Revolver in 1966 with his contribution of three songs and new musical ideas. By 1967, Harrison’s interests appeared to be moving outside The Beatles, and his involvement in Sgt. Pepper’s Lonely Hearts Club Band consists mainly of his one song, “Within You Without You”, on which no other Beatle plays, and which stands out for its difference from the rest of the album.
George Harrison
During the recording of The Beatles (White Album) in 1968, tensions were present in the band; these surfaced again during the filming of rehearsal sessions at Twickenham Studios for the album Let It Be. Frustrated by ongoing slights, the poor working conditions in the cold and sterile film studio, and Lennon’s creative disengagement from the group, Harrison quit the band on January 10th. He returned on January 22nd after negotiations with the other Beatles at two business meetings. Relations among the Beatles were more cordial (though still strained) during recordings for the album Abbey Road. The album included “Here Comes the Sun” and “Something”, which was later recorded by Frank Sinatra, who considered it “the greatest love song of the last fifty years”. Harrison’s increasing productivity, coupled with his difficulties in getting The Beatles to record his music, meant that by the end of the group’s career he had amassed a considerable stockpile of unreleased material. Harrison’s last recording session with The Beatles was on January 4th, 1970.
Something was originally written in mid-1968 on a piano in Abbey Road studios during a break from work on The Beatles (The White Album). Although the song came together rather quickly and was ready to be released on The Beatles, it was postponed for a later release because The Beatles already had quite enough finished tracks. George was unsure if it was quite ready for release, as he comments, “I just put it on ice for about six months because I thought ‘that’s too easy’ . . .” He comments on how quickly the song came together for him. It seemed contrary to the way in which he thought a great song should be written, with great deliberation and planning. The song was revisited in early 1969 as backing tracks were recorded. The original 13 takes were then scrapped and recording began again with 36 takes in May of 1969. “Something” was then intended to be part of the Let it Be sessions, but ultimately did not make the final cut. The final take (take 39) ultimately ended up on the album Abbey Road (Released September 26th, 1969). Let it Be was released after Abbey Road, which is regarded as The Beatles final studio album. However, in reference to the chronology of work, Abbey Road was the last album the group worked on as a band.
Modern Day Abbey Road
The final take that appears on Abbey Road is adapted from an early eight minute demo version (available on Anthology 3) contained a new verse with a counter-melody placed where the instrumental break occurs on the official take. It was wise to omit these lines since they’re superfluous and don’t really add any meaning to the song. “Something” was released prior to Abbey Road as the A-side to a single (B-side: “Come Together”). It was the first time in the history of The Beatles that a Harrison composition was released as an A-Side.
The year in which “Something” was released was a hot bed for political, social, and artistic changes. The U.S was still involved in the much controversial Vietnam War. Many American youths led demonstrations and protests against the U.S involvement in Vietnam. Controversial president, Richard Nixon becomes the 37th President of the United States. The Stonewall riots in NY mark the beginning of the gay rights movement. The US, still battling Russia in the space race, fulfills JFK’s promise of putting a man on the moon. 1969 also saw the tragedies of the Manson Family as well as the beauty of the Woodstock festival. Society was stirring with fear, anticipation, frustration, and hope of a brighter future. All of these feelings fueled the budding musical movement of the time.
1969 is considered the summer of love, because it was a culmination of “hippie” movement’s ethos of free love and peace. The pinnacle of this was at the Woodstock festival in upstate New York, where dozens of top artists performed to hundreds of thousands of fans. The crowd lived together in a peaceful community for the three days of the festival. All of their communal peace and free love is underscored by the acid culture of the later 60’s. On the other side of the coin, at a Rolling Stones concert, in 1969, a fan was stabbed to death by a member of the Hells Angel who had been hired to work security. Some believe that this violence may have begun the end of the hippie movement.
Little known fact…George Harrison, as a child, was actually a little asian girl who enjoyed singing. Here is the only footage:
Step Two – Open Listening:
Watch this video to hear “Something”
I am immediately confronted with a pounding drum fill, which invites the soaring chromatic guitar line, which will become a motif (or main lick) of the song. I am instantly settled into a calm but contemplative major sonority. I am then drawn to the lyrics. A man’s inner dialogue attempting to understand why he feels the way he does for a woman. The constant question is, “what is it about her that draws me in”. Then the entrance of organ marking the pulse changes the mood from contemplative to minor yearning. The vocals echo this by mentioning not wanting too leave her. The main motif then pulls us back to the contemplative state. Here we experience a more lush introspective experience framed by the prominence of flowing strings. We then return to the minor yearning with the addition of strings, which create an even more dramatic representation of the narrator’s desire. The main motif returns but shockingly sends us into a new major key. The modulation creates an lifting effect similar to the feeling in your stomach when you go over the crest of hill on a roller coaster; a momentary weightless feeling. This new section is layered with anger, frustration, and intensity. The vocals echo a sense of frustration. The narrator is unable to see what the future will bring with his feelings and displays frustration of the woman’s need to know. The vocals almost take on a screaming quality underscored by sharp pizzicato strings in the background. A descending bass line takes us back to the original key, where the guitar solo enters. The guitar solo is laced with passion and longing. It nearly more expressive than the vocals at conveying a desire to move forward while remaining grounded in the present. The main motif takes us back to the verse. This time a close harmony line compliments the vocals. The verse is grounded in a delicately intricate bass line, which gives a rolling gradient to the foundation of the song. This bass line has been present throughout the song; it seemed to peak through slightly more in this verse. We then hear the main motif again, which has more time to ring out than usual. The elongated motif is then followed by a repeat of the main motif with a slight rubato that leads to the end of the song.
Step Three – Syntax
See the Score of “Something” to follow along with the analysis
Something is in the key of C Major with a bridge in A major (major VI). It is in 4/4 time.
The instrumentation is: Harrison: double tracked vocal, lead guitar, handclaps. McCartney: backing vocals, bass, handclaps. Lennon: guitar. Starr: drum kit. Billy Preston: Hammond organ. Uncredited: 12 violins, 4 violas, 4 cellos, and 1 double bass
The form is:
Intro | Verse | Verse | Bridge | Verse (instrumental) | Verse | Outro |
The Song begins with a pickup drum fill that sets up the main melodic hook (motif). The main melodic hook is played by the guitar and consists of five notes starting on A with embellishment and then moving up chromatically Bb, B, and then to C. This establishes the tonic of the song as C Major. The harmony below the guitar hook also converges on C major but in contrary motion to the hook by moving downward from F major to Eb major and then to the dominant chord G. The bass follows the harmony until the dominant chord where a D is played under the G chord, creating a V6/4. The intention here is to create a smoothly descending bass line from F to C. Thus creating contrary motion between the highest and the lowest voice.
The verse can be divided into two sections. The first six bars constitute the verse proper. The next three bars act as a refrain, where the last bar is a reiteration of the intro hook. The harmonic motion in the verse proper begins on the I chord and ultimately moves towards the V chord. The harmonic motion in the verse proper is dictated by a chromatic guide-tone line. The C on top of the C chord moves to a B making the harmony a Cmajor7. The B then descends to a Bb making the harmony a C7, which acts as a V/IV. The Bb moves to an A as the secondary dominance is put into effect and the next chord is F major. The chromatic motion is then suspended in favor of setting up the dominant. The next chord is a D major which acts as a V/V, ultimately leading to G major the V chord. If the chromatic motion were to continue through the D chord, G would be the appropriate resolution in the following measure. Even though the continuity of the chromatic line is interrupted its effect is still evident as it resolves to G. During this section the bass is highly ornamented with sixteenth notes and melodic elements. Over the first three bars, instead of pedaling the C, the bass creates a I-V-I motion. For the rest of the verse proper the bass follows the harmonic motion, illustrating the roots, with consistent ornamentations.
The refrain of the verse comes from a deceptive resolution to the vi chord, A minor. In the refrain we notice the harmonic rhythm is doubled by chord motion occurring ever half bar. The chromatic motif is then repeated in this section, which serves as connective tissue tying both parts of the verse together. The A moves down to a G# creating a fairly unconventional chord to be used in pop music, A minor/major 7th. Depending on where one places the root, this chord could also be regarded as a G# Augmented chord. The true function of the chord is unsure as the bass plays a sixteenth note fill that moves through chord tones. The fill implies neither the A nor the G# as a root. The chromatic motion continues as the G# moves to G creating the harmony of an Aminor7 /G chord. The G then moves to F# acting as the third of a D9 chord. The bass responds here with contrary chromatic motion, moving during the G chord from G to G# to A and then resolving down to D on the downbeat of the D chord in a V-I manner. This is the first moment of chromatic motion in the bass. The F# moves to an F which becomes the tonic of an F chord. This F chord becomes the same as the F chord in the intro and this bar recapitulates the opening hook. The harmonic, melodic, and bass interaction is the same as the chords move from F to Eb to G/D. The main hook resolves back into the second verse the same way it did at the start of the song.
The melodic content of the verse lives within a rather small interval of a sixth (G below middle C to E above middle C). Steps and thirds dominate melodic motion of the verse. The largest intervallic leap of a fourth occurs as a pickup to the second measure of the refrain.
The second verse contains all of the same elements as the first verse but with an increased presence of the strings, which adds thickness to the harmony by outlining the chord tones and providing melodic passages to connect the harmonic motion. However, there is a stark difference in the recapitulation of the main hook at the end of the second verse. This difference is used to set up the bridge. The contrary interaction of the bass, harmony, and guitar line remain the same, but the resolution is to A major instead of A minor. This sets up the new key of the bridge as A major or the Major VI of C major. The A major chord is allowed to ring out for an entire bar before the bridge begins. This makes the second verse have an uneven form compared to the first.
The form of the bridge is AA. The bridge consists of eight bars comprising of a general repetition of the first four bars. The bridge continues with the theme of descending notes to dictate the harmony. This time the pattern is diatonic instead of chromatic. Like the refrain, the harmonic motion happens at the half bar level. The descending motion is clearly illustrated by the bass, which assumes a simpler role in the bridge, marking time instead of filling. The A root moves to G# and creates a harmony of a C#minor/G#. The G# moves to F# creating an F# minor chord. The F# moves to E and acts as the fifth and root of A/E. The E then moves to D tonicizing a D chord. The descending motion is then suspended as the guide tone remains on a D as the harmony moves to a G major chord. In this moment of suspension the melody hits its climax by moving towards the G above middle C. After the G chord the guide tone continues and D resolves to the C# which is the third of A. The harmony stays on A for a full bar before repeating the four bar pattern. On the full bar of A major the bass performs a syncopated chromatic descending line, from A to E, to set up the second half of the bridge. The second half of the bridge repeats up until the last bar. The G chord in second half of the 3rd bar acts as a dominant chord this time resolving to C major instead of A major. This moves us back into the key of the verse. Under the C chord, the syncopated descending bass line appears again. Instead of chromatically, it moves diatonically from C to D, skipping F. This descending bass line leads into the harmony of the verse.
This third verse is an instrumental verse featuring a guitar solo. The melodic content of the solo is completely different than that of the vocal melody. The guitar solo incorporates leaps of 4th, 5th, 6th, and even 7th. The rhythm of the solo is the most complex yet seen in the piece. It incorporates syncopated sixteenths, triplets, as well as a few very quick bends through thirty-second notes. The solo ultimately concludes by returning to the main lick, which subsequently leads back into a final verse.
The final verse is similar to the first two. The main difference is the entrance of a higher vocal harmony line. The harmony generally follows a third above. This time through the verse there is some rhythmic variation in the melody as well. The verse progresses through the refrain as expected and ultimately leads to the outro. The main hook at the end of the final verse is allowed to ring through a full bar of A major. This alludes to the bridge modulation to A major, but does not follow through with a full bridge. Under the A major, the bass does an ascending straight sixteenth line from A up to E. This E acts as the leading tone to the F major chord. Here the main hook is repeated one last time with the bass up the octave from its normal position. The hook resolves on a final C major chord, which is the final chord in the song.
Step Four – The Sound-in-Time
TU1: 0:00-0:06: The song begins with a six note drum fill. This is followed by an ascending six-note guitar melody line, which is grounded in descending consonance. The guitar line moves forward.
TU2: 0:06-0:26: The guitar line moves towards a place of consonance. On top of the consonance, the vocals enter with a seven-note statement. Underneath the melody is a bass line rich with rhythmic and intervallic activity. The drums maintain an equal four beat pulse. In the background is a misty consonant rhythm guitar. There is space between melodic statements roughly equal to the melodic element preceding the space. The space is filled with a drum fill. The vocal melody continues to make statements and leave space. The bass makes an ascending nine-note statement.
TU3: 00:26-00:38: The harmony descends and a new section is marked by the entrance of the even pulse of an organ double that of the drums in TU2. The harmony now moves at twice as fast of a pace. Here the melody maintains a more consistent flow punctuated by three or four note guitar lines. The bass maintains its complex intervallic and rhythmic role. The section ends with the return of the six-note guitar melody seen in TU1.
TU4: 00:38-01:00: is a return to TU2. The marked difference is the presence of strings providing an outline for the harmony.
TU5: 01:00-01:15: is a return to TU3. Again, the only marked difference is the presence of strings. At the end of this section the six-note guitar melody re-enters. This time it resolves up to a new key center. The bass plays sixteen notes in rapid succession while the strings crescendo, this moves forward. A drum fill sets up a new section.
TU6: 01:15-01:24: A quicker pulse is initially established with a busier drum part of fast six beat clusters and upheld by the bass marking the original pulse. The strings swell around the pulse as well as some of them plucking along, punctuating the pulse. The vocals gain intensity and reach a higher point of pitch than yet noticed.
TU7 01:24-01:28: The vocals leave space in which the bass, keys, strings, and guitars come together to move in a dissonant but rhythmic descending line.
TU8: 01:28-01:38: Is a repetition of TU6 with lyrical variations.
TU9: 01:38-01:42: Again the vocals drop out to leave space where there is a similar descending line to TU7 except this time it is more consonant and resolves to a lower note. The resolution seems to establish the original key center of TU1
TU10 01:42-02:14: We reenter the context of TU2; instead of vocals there is a lead guitar. The guitar plays a quick three four-note pattern and then leaves space. Then there is a similar line of six notes but reaches a higher apex followed by space. The line then climbs even higher and continues to move without leaving space. It reaches an apex and then moves back down only to climb higher again. The higher it climbs the more time it takes to reach its apex. As the lines climbs higher the rhythmic variation increases. Ultimately, the solo ends with the repetition of the original six-note melody from TU1.
TU11: 0:2:14-2:36 We return to the overall place of TU2. This time there is the addition of a second vocal line above and moving parallel with the first.
TU12: 0:2:36-2:44 is a reiteration of TU3 with lyrical variations.
TU13: is a restatement of the six-note guitar line of TU1. This time it resolves upward as it did in TU5. Underneath the higher key center the bass moves with a quick succession of sixteen ascending notes. However, instead of remaining in that key like it did before it quickly returns to the six-note guitar line and ultimately resolves in the original key ending the song.
Step Five – Representation
Lyrics to “Something”:
Something in the way she moves,
Attracts me like no other lover.
Something in the way she woos me.
I don’t want to leave her now,
You know I believe in how.
Somewhere in her smile she knows,
That I don’t need no other lover.
Something in her style that shows me.
I don’t want to leave her now,
You know I believe in how.
You’re asking me will my love grow,
I don’t know, I don’t know.
Stick around, and it may show,
But I don’t know, I don’t know.
Something in the way she knows,
And all I have to do is think of her.
Something in the things she shows me.
I don’t want to leave her now.
You know I believe and how
It is clear that Harrison is demonstrating the inner dialogue of a man smitten with love. The narrator is in conflict with his feelings. It seems as if signs are telling him to move on. The relationship may be experiencing hardships. However, his feelings are telling him that this woman is special and that he cannot let her go. In the second verse he states that not only does he have trouble letting her go, but she knows he doesn’t want to let her go. In the bridge, the narrator speaks in frustration. I can hear the girl asking him the question, “well, if you don’t love me now, in six months, will you?” The narrator is frustrated because he is very aware he doesn’t know what the future will bring for his feelings. If she wants to stay and see, then it may come true. The bottom line is that he doesn’t know what the future will bring, but would like her to be there with him.
Many people believe that “Something” was written about Harrison’s ex-wife Pattie Boyd. Who, after their separation, went on to be with Harrison’s good friend and fellow rock-star, Eric Clapton. Pattie Boyd is often considered a Rock n’ Roll muse because she inspired Clapton to write the rock hit, “Layla”, as well as the more subdued “Wonderful Tonight”. Chronologically, the meaning of this song aligns to Harrisons’ and Boyd’s relationship. It was written around the time when they began to split. “Something” could very well be expressing Harrison’s internal conflict of his failing marriage. Boyd had commented that Harrison had told her that the song was written for her. However, Harrison insists that it was the media that turned the song into something about Boyd. Rather, he just wrote it. His only inspiration was envisioning Ray Charles singing the lead vocals. (Ray Charles eventually covered the song)
Pattie Boyd and George Harrison
Step Six – Virtual Feeling
The song begins with a flurry of thunderous toms which fill into the downbeat of the first bar. The main guitar line enters and in a sighing manner, which wafts up a minor third and back down, only to chromatically and markedly climb up to the tonic. While the guitar line climbs the harmony descends in a drooping manner, as if one is lowering their shoulders in frustration. Vocals enter here. There is melody, but its small intervallic leaps make it seem more spoken. Behind the vocals is a rhythm guitar which, due to its effect, takes on the presence of a swirling harmonic vortex. Underneath the bass loops and swoops, like a stunt airplane, through the chords. The variation of rhythm in the bass seems to be in conversation with the melody. As we enter the refrain of the verse all instruments drop out on the third beat, except the strings. The strings move upward in quarter notes to create a ramp into the refrain. The space left by the other instruments serves to build anticipation. The listener can anticipate that something is going to happen.
As we enter the refrain we are suddenly in a minor key with a downward pull. The organ makes its entrance here marking quarter notes in a march like style. In the two beat gap between the vocals on the Aminor/major7 chord, the bass swoops up with a dramatic high note and a descending 16th note fill. The conversation between the melody and the bass is maintained by making such a statement in the melodic gap. We then descend from the darkness into the familiar place of the main guitar line. The main line at this point is very uplifting in contrast to the mood of the refrain. The main line takes us directly back into the verse
Verse two marks the lush entrance of the strings. The strings flow and occasionally catch the wind the way a sheet does when it’s hung out to dry. Occasionally catching a gust of air, the sheet of strings billows up with crescendo, and as the wind dies, so do the strings fade. In the second refrain the strings catch a slowly building gust of wind that reaches its peak at the main lick. Like a sailboats sail full of wind, the strings pull the song forward and into the modulation of the bridge to the major VI chord. This modulation inspires the bass to engage in an intricate ascending sixteenth line. The shifting ground of this line has the power of saying we are moving somewhere new.
The bridge instantly strikes the listener with its strength. Here the drums and the bass trade roles. The bass marks time with straight eighth notes. While the drums engage in a flurry of polyrhythmic toms. The intricate drum work, although at the same tempo, creates the feeling of moving faster. The strings separate, some play short staccato pizzicato while others create a colorful underbelly of harmony. The vocals soar above with a new found voice of certainty. A climax of intensity is reached at the “I” of “I don’t know”. The climax is quickly followed by a dramatic chromatic descent by all the instruments. The past four bars repeat, but by no means get old. There a sense of organized madness existing between the instruments. Then the descending line repeats, with more intention, as it resolves back to the original key.
Here begins the guitar solo. The first phrase is calm and smooth. The second phrase remains calm and moans up to the sixth before returning to the third. Over the C7 the guitar makes a strong confident statement that climaxes on the major seventh of the F major chord. Two short three note phrases follow in an unsure manner, as if they are saying, “I don’t know, I don’t know”. This line resolves to the fifth of the D major chord. The next phrase is extremely confident with great direction. It ascends upward for two measures reaching its climax consisting of two three note phrases over the G7 chord. The first of these climax phrases uses distinctly dissonant altered sound to descend from the #11 to the 11 to the #9, while the second phrase offers resolution of such altered sounds by consonantly moving from the sixth to the fifth, chromatically. The phrase that begins over the minor refrain of the verse sounds unsure and uncertain in contrast to the phrase before. The final phrase is calm and smooth and full of motion as it soars to the 9th above a D major chord. Ultimately it resolves into the main lick which takes us to the final verse.
In the final verse we are given the addition of the vocal harmonies. The harmonies serve to brighten the color and make the music seem wider. A dramatic drum fill asserts its presence by ending with a shattering crash. The swirling guitar seems to be more prominent and choppy. The final refrain lacks the addition of new colors but continues to provide the downward pull that propels the piece towards the main lick. The main lick shockingly moves to the major VI key. It feels rather abrupt because of the proximity of the Eb chord to the A chord. The relationship of a tritone is unexpected. The Major VI key is suspended for a moment with a rippling bass line underneath. The bass line compliments the suspension and also pulls forward towards what one would expect to be a reiteration of the bridge. Rather, the movement to the major VI is just an allusion to the bridge. It immediately takes the listener back to that moment of intense frustration in the bridge. The rippling bass pulls to the final statement of the main lick. This time the main line resolves on the original tonic.
Step Seven – Onto-Historical
Thus far in the eclectic analysis the referential meaning of “Something” in the form of virtual feelings have been confident and unsure, calm yet frustrated, nostalgic yet future oriented. All underscored by a strong sense of passion. Ontologically, we will see how these feelings can re-create the world of the composer when he created the piece.
“Something” is layer upon layer of internal conflict. The main lick embodies this by the way in which the melody reaches upward and the harmony moves downward. The composer seems to be at a place of conflict where he isn’t sure to move forward to the future or to move backward and stay grounded in the past. It is possible that moving forward and moving backward are the same thing, meaning that the future will be more of the past.
The world of the song is clearly an internal argument or conflict that all men have experienced. One can be uncertain of their feelings, specifically romantic. One is also unsure of how his decisions will affect his future. The tendency to examine one’s consciousness is a product of the times in which the song was written. In the late 60’s, there was a great interest in Indian and eastern philosophy. One of the main tenants of these forms of philosophy was examination of the consciousness. I believe that Harrison is attempting to illustrate the internal dialogue that he learned during his eastern studies.
In the verse we encounter a very nostalgic tone that is clearly pointed towards the past, and the beauty the past possessed. The refrain is darker, more cynical, looking towards the uncertain future. Here we see both sides to the argument, and as the listener, are engaged in the conversation with self.
In the bridge we hear a real sense of frustration with the inability to predict the future or know what lies ahead. There is anger here because the decision would be simpler if one knew what the future was to bring.
In the guitar solo we are put in a nostalgic and calm place. The melody of the solo makes confident statements only to be followed with statements of uncertainty. The greater the confident statement the greater will be the following uncertainty. This clearly illustrates the way that a mind in conflict goes back and forth. Love is a very difficult thing to rationalize. Love has the power to lure one into making wrong decisions. Love can make one battle with themselves because the right choices may be clouded.
The onto-historical world that I have observed in “Something” exists within the mind of a man who is at the crossroads of a relationship full of love. This crossroads creates a whirlwind of emotions that must be sorted. Moreover, I believe that this man exists specifically in the late 60’s because of transcendental nature of examining the consciousness, which became westernized in the late 60’s. While my latter assertion may very well be conjecture based on my previous knowledge, the former most certainly holds true.
Step Eight – Open Listening
Listen again?
In this open listening I will be allowed to hear “Something” on all levels of musical significance. In contrast to the open listening in step 2, I will have all of the information collected from steps 3-7 to guide my perception. Instead of focusing on one element at a time, I will allow all of them to weave together and interact.
There is so much drama evident in the main lick. That lick standing alone could represent the nature of this song. Which is why, I assume, it is repeated more than any other element. This element embodies the song but the song also embodies this element. The conversation between the bass and the melody in the verse compliment the internal conversation of the narrator. The drum beat serves as nothing more than a keeper of time. Like a clock, it confirms that time is always passing. Although one’s conflict may exist internally, it is not immune from the passing of time. The pulse of the organ in the refrain reiterates the tick-tock of a clock. This creates a sense of stress over the passing of time. One must find resolution before time runs out.
The bridge is dramatic in the way it abruptly appears and the content it contains. The melodic climax is reached it is when the vocals say “I don’t know”. This may express that the crux of the conflict rests in uncertainty, or maybe that uncertainty has caused the conflict. Immediately following the climax is the descending bass line, which creates a falling effect. As if one is being sucked under by one’s own uncertainty and anxiety of the future.
The guitar solo in itself embodies the overall meaning of the song. It is full of statements and retractions. Thoughts and counter thoughts. The guitar solo is arguing with itself, but seems natural and quite beautiful as a whole. In there lies a lesson. An internal conflict might be quite distressing; having seemingly endless arguments with your self. As a whole the process is natural and rather quite beautiful. It is only humans that can examine their consciousness at all.
Step Nine – Performance Guide
Many people have covered “Something”. It is currently the second most covered Beatles song after “Yesterday”. However, I have yet to hear a cover that surpasses the original recording. In honesty, I don’t think that is possible with this song. Regardless, since I have analyzed “Something” on many levels I must be able to offer suggestions to those who wish to perform this song.
My first suggestion would be careful not to omit any part. You may change the instrumentation, but the song works as a whole because of the sum of its parts. It is the careful conversation between the bass and the melody that allow it to speak in the way it does. It is the swirling rhythm guitar in conversation with the pulse of the drums that create its presence. Although James Brown did his own thing with it, and well it kind of works. It is completely different from the original.
Of course in a singer songwriter situation, many parts would be omitted. In that case one must pay careful attention to the intention of the lyric. In the verse proper, keep in mind that the sentiment is nostalgic and in the verse refrain the sentiment is uncertainty. There must be clear dynamic change when arriving at the bridge. The bridge must scream frustration and borderline anger.
If one is attempting to condense the instrumentation to a single acoustic guitar, for a singer songwriter situation. I would advise them to pay close attention to the drum part for cues on how to play the chords rhythmically. Specifically, there should be straight 8ths in the refrain to emulate the organ. I would also highly recommend integrating some of the string lines into the guitar part. George Harrison pulled it off acoustically, but well, it is his song. It still sounds distinctly more folky to me in this stripped setting.
Of course this is an issue with pop songs. Often when they are performed they are reduced to a single chord instrument and voice. The instrumentation of classical music is usually honored in performance. However, accurate instrumentation does not mean a quality performance. I am sure I can find countless videos of bands murdering this song, but that, I will not subject you to.
Step Ten – Meta Critique
The drawback of the analysis I have just performed is that I have much prior knowledge about The Beatles and George Harrison. It was very difficult for me to suspend my prejudices. I already had an intimate relationship with the song “Something”. My knowledge affected my analysis most notable on steps six, seven, and eight. I have read many interviews, books, and magazines. I already thought I knew the intention of the song. Granted, I ultimately ended somewhere different than I had planned. My observations were not without bias.
I also feel that the presence of lyrics, with clear intention, pushed me down a certain path. Would I have come to the conclusion of inner conflict without incorporating the text of the lyrics? I do not know.
I think it might be wise, in the case of a pop song, to hold off on step five until after step seven. Then after virtual feeling and onto-historical have been addressed you can see how your conclusions respond in conversation to the text.
and now a little victory dance…because i just finished this analysis!
