Pollack's Notes On It seems a shame that its equally unusual long running time, abrupt ending, and especially its obsessively intense focus and over the top Primal Screaming affect tend to upstage and eclipse the creative novelty of the musical text. It's not quite a medley, rather more like two separate songs cinematically cross cut with each other.
One provides the verses, while the other provides the intro, refrain, and extended outro. Arrangement — Ensemble texture with lead vocal for the verses, compared with focus on a bassline ostinato and accompanied by slow guitar arpeggios and cascaded backing vocals in the "refrain" for the rest. Perspective of the lyrics — The verses directly address the love object, while the refrain's reference her in the third person. The dramatic pauses between the sections and the uneven phrase lengths within them recall several other of John's best work along the lines of " Strawberry Fields Just keep in mind, as I often remind you, that beneath all the novelty there lies a heavy foundation deeply rooted in relatively traditional hard blues.
The tune is predominantly in a pentatonic minor mode, encompassing scale degrees The alternate verse phrases though also make effective use of the pungent flattened fifth and seventh; e. Ab and Cb not to be spelled B-natural! The verses are harmonically anchored around the chords i, VI, V, and V-of-V, though there is also some uncharacteristically uncoordinated harmony used to connect them. The first verse opens in a halting declamatory style that belies the strict tempo that actually marches through Jak W Serenadzie (Like A Serenade) - Mieczysław Wojnicki - Zakochani Są Wśród Nas. The next two verses have a demur, slinking jazz beat of syncopated eighth notes.
The guitar solo nicely reinforces this mood in the way it understatedly Malatia - Sergio Maldini E Il Suo Complesso - Vesuvius Presents Sergio Maldini the original tune instead of improvising upon it.
In hindsight, you notice that the lead guitar actually has been roughly doubling the lead vocal the whole way through. The final verse is given a heavier treatment, with an increased role for the lead guitar, and a literally screaming climax for the lead vocal; the latter backed by a really mysterious bit of unintelligible studio chat bleeding through. The refrains feature ornate riffing filigree in the right hand of the organ part. The "She So Heavy" demi title phrase that leads into it is scanned differently against the meter in almost every case.
In the final iteration which introduces the outro, the final word "heavy" is suspensefully dispensed with; the latter, a very clever, crafty detail. Darling " intro. The odd five-measure length combined with the deferred resolution of V-of-V conspire to keep you off balance. All appearances of this phrase not followed by an immediate repeat of it end with a grand pause on the final chord, almost as if the phrase were closer to six measures instead of five. From the opposite "unifying" perspective savor the subtle effect created by have the pitch, f-natural, sustained the whole way through the chord changes as a common tone.
The ground bass figure used here has a distinctive arch shape and portentious melodic character reminiscent of the themes of some of JS Bach's own pieces based on ground basses such as the Passacaglia and Fugue for organ in c, or the Chaconne for solo violin in d.
The arpeggio figuration accompanying the bassline anticipates similar passages in several side 2 songs on the album; e. The bassline makes a short downward chromatic move from C to Bb in the second half of measure 3, a curious mirror image of a similar move in the verse bassline. E9 - - - - - V-of-V [Figure It's not the smoothest or most convincing transition, and your I Want You (Shes So Heavy) (Jazz Moses Mix) - Groove Collective - I Want You (Shes So Heavy) accepts it somewhat grudingly as "okay, I guess" but "definitely not what I was expecting.
A Minor morphs into A Major at the end of this first phrase allowing a seemingly inevitable ultimate arrival in the home key of d. The second phrase runs roughly parallel to the first one and leads into the third phrase which harmonically is very wide open on the V-of-V chord. The chord progressions in the second half of both the first and second "A" phrases are primarily driven by the bassline which ends in each case with a small chromatic lick upward. For some reason these passages appear imprecisely performed on the recording as if the players had a clear idea of where the phrases were headed harmonically but each took a slightly different route toward the common goal.
I've labeled them out the best I can for now, but feel like these couple of measures deserve a still closer I Want You (Shes So Heavy) (Jazz Moses Mix) - Groove Collective - I Want You (Shes So Heavy) . In the second verse, the ensemble actually sounds like it almost falls apart at one point. Note the John Lennon signature details here of ending the "A" phrases with a limping half measure, and the slow triplets filling that half measure in the second "A" phrase.
We find arpeggios again in this section, this time for the bass riffing under the E9 chord at the end. This presentation of a short riff in many iterations is an idea I Want You (Shes So Heavy) (Jazz Moses Mix) - Groove Collective - I Want You (Shes So Heavy) will reappear in more than one song on side 2; e.
Your Money ", the bridge between " Pam " and " Bathroom Window ", and the series of guitar solos in " The End ". The mood A Hard Days Night - The Supremes - A Bit Of Liverpool ever so slightly but surely over the course of the section, primarily the results of uninhibited drumming and generally noisy recording haze that emerge starting after the first several repeats. The particular placement of the cutoff reflects some uncanny compositional knowledge and experience.
Run all the alternative versions through in your head and see for yourself. The official choice they made is at the sweet spot between the two extremes of too obvious or too unsettling. At it is at least a half minute longer than " Hey Jude ", with which it makes for an interesting contrast and comparison, by the way.
Both songs have extremely long outros that split the overall track into two large sections that are in roughly "Golden Section" proportion to each other. But whereas " Hey Jude " reserves completely different material for the second half and is also durationally weighted in its favor, the coda material of "I Want You She's So Heavy " is modally compatible with the rest of the song, is exposed from the start, reiterated twice as a refrain within the body of the song proper, and the overall track is durationally weighted toward the first half.
Without such front-end ballast the overall track would badly suffer from overexposure of the intro phrase. I expect there are "enemies" of this song who claim the latter problem exists with the track even as it now stands. The two songs make very different dramatic use of their extended outros, with " Hey Jude " fading out very gradually to a complete vanishing point, and "I Want You She's So Heavy " maintaining and even increasing its intensity as it unfolds.
This difference directly reflects a contrast at the very core of the two songs. You might say that both songs suggest the feeling of asymptotically approaching the limit of a particular emotional experience or state of mind.
In the case of " Hey Jude ", the intimation of sublime transcendence is both aptly captured by the fade-out to silence and can be contemplated in physical and aesthetic comfort. In the case of "I Want You She's So Heavy ", the intimation of an obsession upon which the mind zooms in, pushing on irresistably, way past the point of comfort, very likely toward a breaking point or beyond, aesthetically defies a successful literal musical treatment.
A drawn out and extreme crescendo might Cincinnati Kid - Various - Jazzy Lounge apt but it sure won't be "pretty". The alternative abrupt cutoff works better on the level of less-is-more. In some ways that cutoff more strongly suggests an after hours, offstage moment of crash and burn than any attempt that could have been made to perform it explicitly as part of the album track.
All Rights Reserved. This article may be reproduced, retransmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Alan W. The "separateness" of the two elements derives from several points of contrast:. Overall the song is securely rooted in the home key of d minor, in spite of the unusual manner in which the verses all start off in the key of a minor "v" before converging towards home.
The harmonic shape is open to yet another Augmented V chord; resonant shades of the " Oh! The opening of this section in the key of A minor is an unsettling harmonic surprise, given the intro's ending on such a fat, juicy V chord to the key of d. The refrains are formally "AA" doublings up of the intro phrase and weigh in at ten measures long. The outro consists of just short of fourteen complete iterations in a row of the intro with the final one cut short at the second eighth note of the final measure.
With the exception of " Revolution 9 " this very well may be the single longest Beatles track in the canon.
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