Things We Said Today

Oorspronkelijke toonaard: Am / A Getoonde toonaard: m m m m m7 m m7 m m7 m You say you will love me, if I have to go. m m7 m m7 m m7 m You'll be thinking of me, somehow I will know. 9 Someday when I'm lonely, wishing you weren't so far away. m m7 m m7 m m7 m Then I will re-mem-ber things we said today. Verse 2 m m7 m m7 m m7 m You say you'll be mine girl, 'till the end of time. m m7 m m7 m m7 m These days such a kind girl, seems so hard to find. 9 Someday when we're dreaming, deep in love, not a lot to say. m m7 m m7 m m7 m Then we will re-mem-ber things we said today. 7 7 Me I'm just the lucky kind, love to hear you say that love is love, 7 7 m And though we may be blind, love is here to stay and that's enough --Verse 3 m m7 m m7 m m7 m 'nough to make you mine girl, be the only one. m m7 m m7 m m7 m Love me all the time girl, we'll go on and on. 9 Someday when we're dreaming, deep in love, not a lot to say. m m7 m m7 m m7 m Then we will re-mem-ber things we said today. 7 7 Me I'm just the lucky kind, love to hear you say that love is love, 7 7 m And though we may be blind, love is here to stay and that's enough Verse: 'nough to make you mine girl, be the only one. Love me all the time girl, we'll go on and on. Someday when we're dreaming, deep in love, not a lot to say. Then we will re-mem-ber things we said today. Am (fade out)

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****************************************************************************************** Key: a minor / A Major Meter: 4/4 Form: Intro | Verse | Verse | Bridge | | Verse | Bridge | | Verse | Outro (fade-out) CD: "A Hard Day's Night", Track 10 (Parlophone CDP7 46437-2) Recorded: 2nd June 1964, Abbey Road 2 UK-release: 19th July 1964 (B Single / "A Hard Day's Night") US-release: 20th July 1964 (LP "Something New") ****************************************************************************************** The song is primarily in the modal-sounding "natural" minor key of a; you'll note how in the verse sections, the minor v7 (e-min7) chord with no G# is used in place of the more tonally functional Major one (with the G#, of course.) In contrast, the start of the bridge sections features a shift to the parallel Major key of A. Intro We have just a brief two measures in which the backing texture of the verse is established. The even strumming and stroking of acoustic guitar and drums sets a predominantly tranquil mood, yet two details belie it, keeping you braced for possibly tenser times ahead. First off, the opening sixteenth-note rhythmic fanfare (di-di-dum) calls you to attention with a bigger, more ominous bang than you'd think you might need given the supposedly gentle nature of the song to come. Secondly, in the syncopated electric guitar part, the chords are stressed on the half beat in between beats 3 and 4 of the measure. On the official recording of this song, the a minor chord is the only one used in this intro, whereas on the "Beeb" recording of July 1964, you hear them changing to e-minor seventh on the offbeat. Verse The verse is a standard sixteen measures long, and contains four phrases of even length. Three of these phrases — the first, second, and fourth — are musically very similar. Harmonically too, they are quite static featuring in every measure either the lone a-minor chord, or with a change to e-minor seventh on the offbeat. While you'd expect to find a strict pattern as to which measures sustain the chord versus changing it, a close look reveals some internal inconsistencies throughout the official version, as well as between the official and the "Beeb" version cited above. It is, of course, in the third phrase of this section — "Some day when I'm lonely ..." — that the mood noticeably darkens, largely as a result of a momentary tonal ambiguity. It's clear right at the beginning of this phrase that the music is suddenly headed away from the home key, but the future course is kept uncertain. By the time we reach the B-flat chord in the last measure, it is uncertain to our ears whether we might soon stabilize in the new key of F, or perhaps keep moving along the circle of fifths to the even more remote E-flat chord. And yet, at this moment of most extreme tension, the B-flat chord resolves surprisingly-yet-comfortingly back into the home key. I notate it below as though a modulation to F is the "correct" answer, but I think my prose description above is more faithful to one's internal experience: m.9 |C |C9/7 |F |B-flat |a a: III flat-II i F: V I IV [Figure 24.1] Details such as the broad arpeggios in the electric guitar on the downbeat of each measure and the free-form way in which the words are scanned over the underlying rhythm in slow triplets and syncopation, not to mention the harmonized pseudo-duet also help set off this third phrase from the other three. Verse Variations The first verse is the only one that is followed immediately by another verse and as a result, it includes a one-measure "reprise" of the intro including the little rhythmic fanfare. Similarly, the final verse connects directly into the outro which also is just a reprise of the material heard at the outset. Verses two and three connect to bridge sections and feature a surprise ending on A Major instead of the minor chord you'd otherwise expect. It's worth noting how in these verses which adjoin the bridges, the "noisier" texture of the bridge-proper (see below) begins right in the final measure of the verse itself. Bridge The bridge sections provide sudden contrast in virtually every category: the harmony shifts entirely and optimistically to the Major mode, the percussion gets much noisier including the addition a tambourine, and the bass line features a different rhythmic and melodic pattern. More to the point, the gambit of harmonic excursion and sudden return which we saw in the verses is now even further developed. These bridges are each eight measures long and contain two phrases of even length. There is melodic parallelism between the two phrases which is made bitter sweetly ironic by a difference in their harmony. The melody too is difficultly chromatic and adds to the emotional intensity of the section; in addition to the usual chords, I've chosen to notate below what I consider to be the structural backbone of this melody: Melody: |C# |D |D# |D-natural | Chords: |A |D |B |E7 | A: I IV V of V V7 |C# |D |D# |D-natural ||C-natural |A |D |B |B-flat ||a I IV V of V flat-II i [Figure 24.2] Harmonically, the first phrase is "functional" in a relatively traditional way, although you'd sooner expect the D# in top voice of measure 3 to resolve upward to E rather than downward, as it does to D. And though the D fits quite logically on top of the E7 chord upon which it finds itself, the melodic descent conveys some small sense of emotional deflation, especially as it follows the first three measures of rising, happy-Major-mode expectations. It's in the second phrase, where this same melodic backbone is suspended over an extremely unexpected substitution of the B-flat chord for the E7 that the sun chillingly goes in for a brief moment; especially when this half-stepwise descent continues in a second surprise move to the a-minor chord for the start of the following verse. As with the verse above, labeling the B-flat chord a flat-II maybe doesn't even fairly match your experience of the phrase. Perhaps, it's more like an unhinging sensation of harmonic free-fall, which is brought to a merciful end by the sudden return to the home key. Outro As is common in songs of this period, the outro presents yet another reprise of the introductory material repeated into a fade-out. It would almost be an anti-climax except for the ingeniously unifying stroke of adding in the tambourine part from the bridge section. In spite of the fact that the steady reliability of the a minor backing riff extends as far as you can see to the horizon, this ending also suggests that little pangs of anxiety will also remain a permanent part of the tour.

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