The Ballad Style in the Early Music of the Beatles

Author(s): Terence J. O'Grady

Source: College Music Symposium, Vol. 19, No. 1 (Spring, 1979), pp. 221-230
Published by: College Music Society
Stable URL: http://www.jstor.org/stable/40351770
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CampusFocus

The Ballad Style

in theEarlyMusic
oftheBeatles
Terence J. O'Grady
ofWisconsin- GreenBay
University

role of popular musicin the collegecurriculumhas always been

somewhatvagueand ill-defined. When,in thelate 1960s,collegecourses
in popularmusicwereadded to thetraditionalofferings in westernartmusic,
and
ethnomusicology, jazz, the actionseemed to be taken moreas a response
to the thenfrequentdemand forrelevancethan forany specificpedagogical
reasons,or becauseofanywell-developed viewthatthestudyofpopularmusic
filledsomeimportantgap orin somewaycomplementedthemoretraditional
areasofmusicalendeavor.The criesforrelevance,as usefuland productiveas
theyhave been in some areas,seem to have diminishedsomewhatin recent
years.Perhapsit is nowappropriateto examinemorecarefully themusical rel-
evanceofpopularmusicto thecollegecurriculum.
The studyof popular musicis, perhapsbeforeanythingelse, an ethno-
musicologicalone. The "commercial"concernsof popular music do not di-
minishitspotentialas a social indicator;on thecontrary, it isjust thesecon-
cerns,coupled with the"trendiness" of thegenre and itssuitability fordissem-
inationin a massculture,thatmake it such a valuable barometerofsociety.
Popularmusicclearlyhas a place in ethnomusicological studies,rightalong-
side thebroadsideballads and themusicofthestreet-singing Bauls ofBengal.
And yet,anyapproachto popularmusicwhichinvestigates onlyitssocial
milieuwouldbe failingto takeintoaccountitsinstructive value in purelymu-
sical terms.It is specifically
themusicofpopularmusicwhichis too oftenne-
glected,whetherthe focusis on the popularmusicofanotherera, or on con-
temporary popularmusic.All too frequently, popularmusiccriticismdeals at
length withthe sociologicalimplications of thelyrics,hairlength,sadisticrole-
playingin performance, etc.,and themusicalaspectsare glossedover.This is

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222 COLLEGE MUSIC SYMPOSIUM
notto suggestthata musicalanalysisofpopularmusicis likelyto shed much
lighton artmusicforthosenotkindlydisposedto it.The differences in context
betweenpopular musicand art musicare as great,or possiblygreater,than
betweenthe art musicsof non-western cultures.We do not studyragas and
talas because we thinktheywill necessarily aid our understanding ofwestern
artmusic,or evenwesternimprovisation. Similarly,it is notreasonableto as-
sume that a studyof popular musicwill, in and of itself,make Schubert's
Liedermoreaccessible.
What popularmusiccan do is to demonstrate, perhapsmoreclearlythan
anyothermusic,theevolutionorassimilationofa particularstyle.This cannot
be done if popular musicis approachedvia a surveyof trends.Rather,any
investigation mustconcernitselfwitha methodicalstudyof musicalcauses
and effects. Popularmusicis,becauseofitsgenerallyaccessibleand frequently
guilelessmusicalcontent,an ideal subjectfora methodological study.Lineages
and influencesmay be tracedwith relativeease in popular music,and the
problemsofdefining thesalientfeatures ofa stylecan be dealtwithmoreeasily
herethanin connectionwithmusicofgreatercomplexity and lesserfamiliar-
ity.The skillsacquiredin suchan investigation maybe applied to other,per-
haps more sophisticated music when experienceallows. The studentis not
learning about the use of specific chords or melodytypesin orderto applythat
knowledge to art music. Instead, he is learningthat,whilestylein musicis a
relatively fluidthingwithmanypossiblesourcesand influences, a methodical
approach incorporating both historical and theoretical concepts can be
brought to bear in such a way as to increase sensitivity to that styleand the
to
ability perceive it.
It is no exaggeration to suggestthattheperceptionofstyleis at therootof
any musical study. Therefore, the studyofstylein popularmusicis relevant
not onlyto ethnomusicology, but to any area wherethe refinement ofan in-
vestigative method is of paramountimportance, e.g.,music appreciation,mu-
sic history, or even introductory coursesin musicology.
This studyof the ballad stylein the earlymusicof the Beatlesis an at-
temptto demonstrate someofthepossibilities inherentin theinvestigation of
popular music in its to
and, particular, ability assimilatevarious influences
and styles.
When theBeatlescame out withtheirfirstsingle,"Love Me Do," in No-
vember1962,it musthave been difficult to determineexactlywhat sortof
grouptheywere.The Lennon-McCartney composition"Love Me Do" resem-
bled nothingon theEnglishor Americanpop chartsoftheperiodin itsappar-
entdisregardfortheconventions ofpop orrockmelody,itspreoccupationwith
perfect intervals in the two vocal parts,and its slightlyblues-influenced and
distinctly non-virtuoso harmonicasolos.This songmaywellhave derivedfrom
thecountryand westernballad styleof50s rockabillysingerCarl Perkinsand

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 BALLAD STYLE IN THE BEATLES 223
resembleshis "I'm Sure to Fall" in melodicconception,rhythm, and textural
devicesas shownby an earlyBeatles' recording of the song.In thisversionof
"I'm Sure to Fall," based closelyon theoriginal,themelodicphrasingand use
ofparallelperfectintervalsin thevocal partsin particularpointto theBeatles'
later"Love Me Do."
Afterthisratherambiguousbeginning, itsoonbecameclearthattheBea-
tlesweredestinedtobe successful hit-makersin threereasonablydistinctstyles.
The firstofthesewas the pop-rockstyle.The Beatles'firstseveralhitsdemon-
stratedthisstyle,a combinationoftunefulmelodyofdistinctive contourand
an energetic,uptemporhythmic accompaniment characteristicof the more
improvisatory rockstylessince the mid-1950s.This stylecan be heard in the
Beatles'secondsingle(thefirstto reachthenumberone positionin England),
a songheavilyinfluencedbythevocal sonorities oftheAmericanduo, theEv-
erlyBrothers, entitled "Please Please Me." This Lennon-McCartney compo-
sitionfeaturesa vocal stylein whichthestrongly directionalmelodyisjuxta-
posedwitha reiteration ofthetonic,a gesturerecallingthe 1961EverlyBroth-
ers'hit"Cathy'sClown."
Ex. 1. PleasePleaseMe
(A section)

J'i'i i1 I I1 111i1 i1 ,' ijJ vi m

The secondofthe Beatles'threeearlystylesis therhythm and blues-rock
style.This stylecombinesthefragmented melodicstyleoftheblues tradition
(includingtheflattedthirdsand seventhsassociatedwiththatidiom)withthe
limitedharmonicvarietyofthe traditionalblues progression. The Beatlesre-
cordedrelativelyfeworiginalcompositionsin thisstyle(none of the Beatles'
earlycompositions exactly),but an earlyAmeri-
followstheblues progression
can single,"I Saw Her StandingThere,"may,withitsinsistenceon thetonic
and flatseventhscale degreesand itsblues-likeharmony,be takenas repre-
sentativeofthetype.
Ex. 2. 1 SawHerStandingThere
(A section)
i -for
JLhh% •'Frir i pffrir
pTmprVrp-E
The thirdofthethreeearlystylesis theslowor mediumtempoballad. It
mustbe notedherethattheterm"ballad" is not,in thiscase, meantto imply
anyconnectionwiththetraditionalwesternfolkrepertoire norto suggestthe
presenceofnarrativetextcontent.Rather,thetermis usedheretodenotethose
songsexhibitinga moresustainedand lyricalmelodicapproachin combina-

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224 COLLEGE MUSIC SYMPOSIUM
tionwitha comparatively slowtempo.This typeis encounteredin theBeatles'
originalrepertoirealmostfromthe beginning.The B side oftheBeatles' first
single,"P.S. I Love in embryonicformsomeof the con-
You," demonstrates
junct parallelprogressions augmentedchordswhichare to markmostof
and
theBeatles'earlyballads.This typeofballad is fullyand consistently
realized
forthefirsttimein "Do You Want to Know a Secret?,"a 1963Lennoncom-
position.Thissongappearstobe modelledharmonically afterTonySheridan's
"Why?," recorded in Hamburg,Germany, at a 1961 sessionforwhichtheBea-
tlesprovidedsomebackgroundaccompaniments.
Ex. 3. Do You Want To Know A Secret?
(A section)
" l> J"3 r "
frL"*rfr biii ii
c fr/I c_r
V7 I Hi b"i
Eb: I iii

(A section)

A: I iii ii V7

Not onlyare theharmonicprogressions and melodicrhythms comparable

forthefirstfewmeasures,but thearrangements ofthe backgroundvocal har-
moniesalso showa definiteresemblance.
This archetypalballad styleis followedin a numberof otherballads in
thisperiod."If I Fell" containsan A sectionwhichmakesconspicuoususe ofa
conjunctprogression featuringthemediantchord,and "AskMe Why"consists
harmonically of a slightreshufflingof the same conjunctprogression which
characterizesSheridan's"Why?" and Lennon's "Do You Want to Know a
Secret?"
The emphasison themediantchord,conjunctchordprogressions, oreven
the chromatically descending harmonies of "Secret" were not,of course, the
exclusiveproperty ofeitherSheridanor theBeatles.Severalrockballads ofthe
50s (and earlier)had made conspicuoususe ofsimilarharmonicdevices,most
notably"I'm Mr. Blue," "Blue Velvet,"and "You Belongto Me." The con-
junct chord progression(and attendantmelodic options)had not been re-
strictedto earlyrockballads, however.MeredithWillson's"Till There Was
You," a songrecordedbytheBeatleson theirearliestalbum,prominently fea-
turessucha progression. the
Nevertheless, degree to which theseBeatle ballads
exhibita homogeneousmelodic-harmonic contentmustbe consideredunique,
eventhoughthehomogeneity frequentlyextends onlyto thefirstsectionofthe
songs.
Alongwiththesegenerallylyricalballads,theBeatlesalso composedand
recordedin a ballad stylewhichmaybe describedas an "uptown"rhythm and

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 BALLADSTYLE IN THE BEATLES 225
bluesstyle.1 The "uptown"style, as manifest in theworkofblackgroupssuch
as Smokey RobinsonandtheMiraclesandtheShirelles, demonstrated a pref-
erencefordramatically placed minor chords (usually within the context ofa
majorkey)and a call and response vocalinteraction, as wellas a generally
moreseriousandaccusingtone.Although theuptownballadstyle,heard,for
example, intheBeatles'"No Reply,"disappeared from theirrepertoire bylate
the is
1964, style important in connection with the emerging tendency ofthe
Beatlestodevelopa personal synthesisofpre-existing styles.Beginning in 1964,
theBeatlesrecorded a number ofcompositions whichclearly demonstrate me-
lodic-harmonic characteristics ofboththerhythm andblues-rock style the
and
uptownrhythm and blues style. These contrasting stylescan be seenin the
Beatles'sixthsingle,"Can'tBuyMe Love,"whichexhibits themelodic-har-
monicstyle oftherhythm andbluesstyleintheA section, whilerelying heavily
ontheminormediantand submediant chordsso characteristic oftheuptown
styleinthebridgesection.
DespitethefactthattheBeatleshad,bylate 1964,proventhemselves to
beversatile and
composers performers of
capable drawing or
upon synthesizing
anynumberofdifferent styles, thereis no doubtbut thattheworldofpop
musicwascaughtverymuchoff-guard bytheappearance oftheBeatles'"Yes-
terday."It is probablethat"Yesterday," firstreleasedas partoftheBritish
Help!albumin 1965,wasconsidered uniquemoreforitsaccompanying string
quartet than for itsmelodic-harmonic content. Although theuseofstrings per
sewasnotan unusualgesture inrockmusic,thepseudo-Classical styleusedby
thequartetin "Yesterday" wasauthentically innovative.
Still,themelodic-harmonic of
style McCartney's "Yesterday" mustalso
havebeenperceived by most listeners
as demonstrative of a break in theBea-
tles'style.WhileMcCartney's earlierballad"AndI LoveHer"hadexhibited
an unusualuse ofnonharmonic tonesand minorseventhchords,and more
recent balladshaddisplayed a higher-than-usual number ofaugmented chords
and an occasionalmajorseventh the
chord, majority earlyof Beatle ballads
had remained securely withinthestylistic parameters oftheearlierrockand
rollballadas represented bySheridan's "Why?""Yesterday" seemedtorep-
resentthefirst majordeparture from this style in itsconspicuous useofsus-
tainednonharmonic tonesand minorseventh chords.With"Yesterday," the
Beatlesappeartohavemovedintotheworldofthesophisticated adultcom-
mercial ballad,a factsubstantiated the
by large number ofadult ballad singers
whorecorded thesongandthewidespread acceptance ofthesongamongpost-
teenagers. "
Andyet,theapparently revolutionary qualitiesof"Yesterdaywerenot,
in fact,revolutionary fortworeasons:first, thesongretainssignificant rock
•Thistermis takenfromCharlieGillett'sTheSoundoftheCity:TheRiseofRockandRoll(New
York: Outerbridge& Dienstrey,1970).

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226 COLLEGE MUSIC SYMPOSIUM
Ex. 4. Yesterday
(A section)

|.: j vjj7 v7/vi vi -b7 IV V7 I V ii II7 IV I

ballad and pop-rockcharacteristics to an even greaterextentthandid earlier

songssuchas "And I Love Her"; second,theBeatleshad actuallycomposedin
thisadultcommercialballad stylemuchearlierin theircareer,althoughthese
workswerenotrecordedbythem.
The traditionalrockballad and pop-rockcharacteristics foundin "Yes-
terday"includethe prominentuse of the vi-V-IV progressionin the bridge
(withthesame chordssuggestedin theA section),and theflatthirdrelation-
shipbetweenmajorchordsheardin theclosingmeasuresoftheA section.The
ofthesecharacteristics
first associatedwiththeolderrockballad
is particularly
style,whilethesecondis found any greatextentonlyin earlierBeatle pop-
to
rocksongs.
The apparentstylisticinconsistency of"Yesterday"shouldnotbe seenas
evidenceofnaiveteon the Beatles'part,however.The factthatthissongwas
acceptedso widelyas an adult popularballad is proofofitscredentialsin that
style;and it seemsprobablethatthe Beatles,and McCartneyin particular,
werewell aware ofthe hybridqualityofthe songsincethe grouphad, three
yearsearlier,composedworkswhich fitthe adult ballad mold much more
closely.In fact,twoof the Beatles'earliestballads, bothdatingfrom1963or
before,are remarkablefortheirdemonstration ofa matureadult commercial
ballad style.The firstof these,"Love of the Loved," was composedforpop
ballad singerCilla Black and existsonlyin a rehearsalversionby the Beatles
releasedas a bootlegrecord.
Ex. 5. LoveoftheLoved
(A section)

V: I iii bill iv I bVI V7 I

This songis remarkablein a numberofrespects.First,itsharmonicvari-

etyis unusual foran earlyBeatle composition.While the openingtonic-me-
diantprogression is appropriateto therockballad styleas well as to theadult
ballad style(as shownbysuchballads as "Ask My Why" and "Do You Want
to Know a Secret?"),the flatmediant,minorsubdominant,and flatsubme-
diantchordswhichfollowclearlydistinguish thesongfromthecommercially
releasedoriginalballads as wellas fromthesomewhatsimplisticpop-rockhits
of 1963and 1964.These variedand relativelysophisticatedharmonies,found
in bothsectionsofthe song,clearlybelongmoreto an olderballad tradition

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 BALLADSTYLE IN THE BEATLES 227
(as exemplifiedby such songs as "We'll Be TogetherAgain" and "Blue
Moon") as does the extensive,near-sequentialrepetitionof melodicmotives
also foundin bothsections.
A secondand equally remarkableexampleoftheadult commercialstyle
in theBeatles'earlyballads is foundin "It's forYou," also composedforCilia
Blackin 1963.The first sectionof"It's forYou" features prominentmajorand
minorseventhsonoritieswithina harmonicprogression generatedby a de-
scending bass line,a devicewhich is to become extremely importantin Beatle
songscomposedthreeor fouryearslater,and which is also encounteredin
Scott's"A Taste ofHoney,"an adult commercialballad recordedby theBea-
tleson theirfirstBritishalbum.
Ex. 6. It'sforYou
(A section)
An , ii i , -i j ij J J |fi r IE r^
F: vi I II ii IMA7 IV9 bVII

""
bill ii V7 1^"

The bridgeof "It's forYou" is of equal interest.It exhibitsa repeating

"jazz waltz" rhythm combinedwithprominent minoradded sixth,minorsev-
enth, and diminished harmonies, and an expandingmelodic motive.Once
again, the song recallsthe sophisticatedadult ballad to a fargreaterextent
thanit does themoreor lessstereotyped rockballads whichthe Beatleschose
to recordforthefirst threeyearsoftheircareer.
Nevertheless, the appearanceof thisrelativelysophisticatedstylein the
Beatles'earlyworkis notas remarkableas one mightsupposejudgingfromthe
group'soriginalrecordedrepertoire. In fact,theBeatles'experiencewiththis
style is not to
restricted the recordingof two musicalcomedytuneson their
earliestalbumsbut datesback to thegroup'searlieststages.In a 1959letterto
a local journalist,McCartneystatesthat the group"derivesa greatdeal of
pleasurefromre-arranging ('Ain'tShe Sweet,''You WereMeant
old favourites
forMe,' 'Home,' 'Moonglow,''You Are My Sunshine'and others)."2
Of theseexamples,only"Moonglow,"withitschromaticharmonies,ac-
tuallyqualifiesas an adult commercialballad; but the Beatleshad reliedon
othercommercialballads fortheirsubsequentrecordingauditionsincluding
"Besame Mucho," and "Red Sails in the Sunset"as well as "Till There Was
You."

2HunterDavics, TheBeatles:TheAuthorized (New York: Dell PublishingCo., Inc.,

Biography
1968),p. 69.

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228 COLLEGE MUSIC SYMPOSIUM
The Beatles'apparententhusiasmforthe olderand somewhatmoreso-
phisticatedballads is generallyattributedto two factors.First,the Beatles'
earlyskiffle phasehad taughtthemtheadvantagesofadaptingsongsofvarious
types to theirownstyle.Second,adult influencemaywellhaveplayeda major
rolein the Beatles'earlyrepertoire. Paul's fatherhad led a dance band in the
1920sand it is possiblethatJimMcCartney'scommercialtasteswerepassed
on to hisson.Paul was,in fact,thefeaturedvocaliston all oftheBeatles'early
efforts in thecommercialstyle,a probableindicationofhis personalenthusi-
asm. Two otheradultswerein an even moreinfluential positionin respectto
the Beatles'repertoire. According to Beatle biographer Hunter Davies, both
manager Brian Epsteinand producerGeorge Martin encouragedthe Beatles
to perform theolderballads despitethe factthattheBeatles'local reputation
had been based on a moredynamicapproachto traditionalrockand roll.3
While the Beatles'earlyinfluencesoffera possibleexplanationfortheir
occasionaladoptionofthe commercialballad style,theydo notexplainwhy
the Beatlesshouldreservetheirown ratherunique compositions in thatstyle
forotherperformers, while recordingthemselvesonly thoseoriginalballads
whichtendto morecloselyfittheformulas ofthetraditionalrockballad.
The reasonsforthisunusualsituationcannotbe statedwithcertainty but
twofactorsmaybe involved.AlthoughtheBeatles,in theearlystagesoftheir
recording career,werein no positionto ignorethecounseloftheiradult advi-
sors,thereis no questionbut thatthe membersofthegroupshareda distaste
fortheslickballad styleofthethenpopularBritishsingerCliffRichard.While
the Beatlesapparentlyfeltthatthe recordingof commercialballads such as
"Till ThereWas You" and "A Taste ofHoney" demonstrated theirversatility,
it is possiblethatthegroupmade a consciouseffort to shuntheslickerstylein
theirrecordingsof originalmaterialin orderto avoid the almostinevitable
comparisonwithRichard.
A secondand perhapsmoresignificant factorinvolvesa consciousdecision
on the Beatles' part to incorporateonly the simplestdevicesof melodyand
harmonyin theearlyrecordings. While themoretypicalrockballads suchas
"Ask Me Why" and "Do You Want to Know a Secret?"are not completely
devoidofstylistic surprises(the Beatlesalso havingvowedto eliminateover-
wornclichesin thisperiod4),thesongsare clearlynotequal in sophistication
to theadult commercialballads "Love oftheLoved," "It's forYou," and the
later"Yesterday."The Beatlesactuallyseemto haveexperienceda mildiden-
titycrisisin connectionwiththecomplexityoftheircompositions. Writingin
his 1964biographyTheTrueStory oftheBeatles,BillyShepherdstates:

3Ibid, p. 149.
4Jonathon Cott,"JohnLennon" in TheRollingStoneInterviews,
PaperbackLibraryEdition
(New York:CoronetCommunications, Inc., 1971),p. 199.

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 BALLADSTYLEIN THE BEATLES 229
At onetime,thepairwereafraidtheywerelosingtheirtouchas songwriters. This
was becausetheybecame too obsessedwithchordcontent.They put too much
intoeach melodyand when it came to runningthroughthe finishedproduct,
theyrealizedit was much too complicatedto catch on withthefans.It tooka
long timeforthemto realizewheretheyweregoingwrong.Then theyagreed:
"We go forsimplicityin thefuture.Let's stopkiddingourselvesthatwe'regreat
musicalcomposers.Let'sjust getthesortofmaterialthatwe liketosingand then
stickthemintotheprogrammes."5

Shepherd also quotes Lennon on the subject of complexity:

"Sometimeswe strayedoutsidetheboundsof thesimplestuff- and we worried
about it. For instance,'FromMe to You' was a biton thecomplicatedside.Ac-
tually,we boththoughtitwould nevercatchon withthefans,and I thinkitwas
Paul's dad who persuadedus thatitwas a nicelittletune.. . ."6
An unusual awareness of audience expectations is implicit in the Beatles'
attitude at this point. The relativelyslick and complex adult commercial bal-
lads were appropriate only fornightclub singerssuch as Cilia Black who drew
upon a wider range of ages fortheirfollowing,while the Beatles could expect
continued success only ifit were clear that theirsongswere directedspecifically
at the teenage fanswho firstembraced them. It was not until the Beatles were
solidly launched on theirmost successfulcareer that they allowed their more
sophisticatedeffortsto become closely identifiedwith the group as a perform-
ing entity.Their continued popularity after 1965 suggeststhat their decision
to publicly expand theirresourceswas a wise one even though therehave been,
and will probably continue to be, criticswho assertthat it was the early, sup-
posedly naive Beatles who made the greatestcontributionto popular music.

DlSGOGRAPHY

In AlphabeticalOrder(Performers in parenthesis)
UnitedArtistsUAS 3366A
Can't Buy Me Love (The Beatles)on A HardDay'sNight,
Cathy'sClown(The EverlyBrothers), WarnerBros.7110
Capitol ST 2309
Do You Wantto Know a Secret?(The Beatles)on TheEarlyBeatles,
UnitedArtists
If I Fell (The Beatles)on A HardDay'sNight, UAS 3366A
I'm Sure to Fall (The Beatles)on YellowMatter Trademark
Custard, of QualityTMQ,
71032
I Saw Her StandingThere(The Beatles)on MeettheBeatles,Capitol ST 2047

5Billy
Shepherd,TheTrue
Story (NewYork:BantamBooks,Inc.,1964),p. 78.
oftheBeatles
6Ibid.,p. 79.

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230 COLLEGE MUSIC SYMPOSIUM
It's forYou (Cilia Black),Capitol 5428
Love Me Do (The Beatles)on TheEarlyBeatles,Capitol ST 2309
Love of theLoved (The Beatles)on TheBeatles:L.S. Bumblebee,Contraband(matrix)
3626
No Reply(The Beatles)on Beatles'65,Capitol ST 2228
Capitol ST 2309
Please Please Me (The Beatles)on TheEarlyBeatles,
Capitol ST 2309
P.S. I Love You (The Beatles)on TheEarlyBeatles,
A Taste ofHoney (The Beatles)on TheEarlyBeatles, Capitol ST 2309
Till ThereWas You (The Beatles)on MeettheBeatles, Capitol ST 2047
Why?(Tony Sheridan)on In theBeginning: TheBeatles(Circa1960), PolydorStereo24-
4504
Capitol ST 2553
. . andToday,
Yesterday(The Beatles)on "Yesterday".

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