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I'll Cry Instead
Composer(s) : Lennon and McCartney
Year : 1963
Chords/Tabs: I'll Cry Instead
Notes on "I'll Cry Instead" (ICI)
KEY G Major
METER 4/4
FORM Intro -> Verse -> Verse -> Bridge -> Verse ->
Bridge -> Verse (w/complete ending)
GENERAL POINTS OF INTEREST
Style and Form
- The 'official' version, found on the British _Hard Day's Night_ album,
is a standard two-bridge model with neither an instrumental solo section
nor double verse in between the two bridge sections. An small unusual
twist here is the lack of an outro, proper; instead, the song simply
comes to a complete halt at the end of the final verse.
- Strange as it sounds, the song was planned at one point to be used in The
Film as the musical accompaniment to the "running and jumping" scene,
instead of "Can't Buy Me Love." In order to lengthen it out to match
the timing of the film scene, an 'alternate' version, with the first
verse repeated at the end, was artificially spliced together. This
formalistic oddity can be found on the American film album (from
United Artists) as well as the mono pressing of _Something New_.
Melody and Harmony
- As we've seen in many other songs on the AHDN album, the melody of this
one is heavily bluesy but only in the verses, and even in there, the
use of the blue minor third and seventh is not consistent; look carefully
at the tune and observe the continual alternation of b natural and
b flat, and the extent to which this lends a characterizing flavor
to it.
- Similarly, the chords of the verse are limited to the bluesy set of I-IV-V,
while the bridge features a full-blown, albeit short-lived modulation to
the key of V (i.e. 'D').
Arrangement
- John's solo is the only vocal part heard on this track. The double
tracking is quite noticeably better synched here than usual, leading
me to half suspect that it might have been artificially done, even
though I don't believe that the Beatles had yet discovered the special
effect of 'ADT' at this point.
- The overall instrumental sound is rather countryish by virtue of the
strumming style of the rhythm guitar, the chordal obligatto part for
the lead guitar, and the prominent use of the tambourine. Note the
way they all 'zoom' into the opening G Major chord from the note
below, and the extent to which this effect recurs throughout.
SECTION-BY-SECTION WALKTHROUGH
Intro
- There's not much of an intro to speak of here, except for two measures
worth of vamping on the I chord (i.e. G). The guitar part hints at a
shift to the IV chord (i.e. C) on the off beat, but I believe these are
heard more as transitional neighbor tones filling in between the I chords
on either side, rather than as a discrete change of chord root.
Verse
- The verse is sixteen measures long with four phrases all of equal length:
|G |- |- |- ||G |- |D |- ||
G: I V
|C |- |- |- ||G |D |G |- ||
IV I V I
- The harmonic rhythm is almost plodding, but the momentary speed-up in
the final phrase helps create a sense of formal closure to the section.
- The melodic phrase heard over the C chord in measure 9 ('d->f->d->c->
b-flat->c' as in "if I could see you now") -- with it's flat 7th and 3rd,
as well as the way in which the f and d run roughshod over the C chord
below it, are extremely characteristic of both this song and the Beatles
semi-bluesy style of this period in general.
- The penultimate phrase of each of the two verses which follow a bridge
section feature the dramatic touch of the other guitars dropping out to
make way for a long walking bass solo plus tambourine. Together with
the specific choice of words that starts off these verse ("*and* when
I do you better ..."), this musical effect has a way of connecting
them to the preceding bridges and making them feel as if they tie off
some kind of business left unfinished back in the bridge.
Bridge
- The bridge is eight measures long with two phrases of equal length:
|b |- |A |- ||D |- |e |A D |
G: iii V
D: vi V I ii V I
- The pivot modulation from G to D is somewhat ingenuously awkward. The
move to the b minor chord does not by itself signal the start of a key
change, and although the move from there down to A tells you something
is afoot, it is a move which is more ambiguous than sure-footed.
- In truth, one does not regain a clear sense of key again in this
section until near the end when the new key of D Major is firmly
established by its own ii-V-I progression. And yet, just as this
happens, we just as quickly scamper right back to the home key in
the final measure of the section, a moment which contains the
fastest stretch of harmonic rhythm in the entire song. Indeed, this
jumpy kind of tonal shifting around neatly reflects some of the
unease of the lyrics.
SOME FINAL THOUGHTS
- It's tempting to describe this one as a less mature, less self-aware
warm-up for the later "You've Got To Hide Yourself Away." Most notable,
in contrast to the few other bitter songs of this still relatively
early period (e.g. "You Can't Do That" and "Tell Me Why"), is the
complete focus in *this* song on the forlorn aftermath of the breakup,
accompanied as it is with thoughts of self-pity and revenge. There
are no descriptions or allusions here to any past pleasures, whys
or wherefores; only pain.
Regards,
Alan (awp@bitstream.com *OR* uunet!huxley!awp)
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"Well, you stick to that story, son." 042192#53
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Copyright (c) 1992 by Alan W. Pollack
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