I Call Your Name
Composer(s) : Lennon and McCartney
Year : 1964
Chords/Tabs: I Call Your Name
Notes on "I Call Your Name" (ICYN)
KEY E Major
FORM Intro -> Verse -> Verse (variant) -> Bridge ->
Verse (variant) -> Verse (variant) for guitar solo ->
Bridge -> Verse (variant) -> Outro (fadeout)
GENERAL POINTS OF INTEREST
Style and Form
- The style of this one is not easily pigeon-holed; somewhat bluesy in flavor,
but not at all in form; more like pop, or even jazz, than the predominantly
harder rock songs which chronologically surround it.
- The form is "full", including two bridges that are separated by two verse
sections, one of which is an instrumental. A slight variant of the initial
verse is used for all verse sections except the first one. The length of
each verse is quite short and this makes the first pair of them sound
almost as though they comprise one longer couplet-like section. Similarly,
the remaining verses, all built on the "variant", sound a bit unnaturally
- During the solo section, the backbeat is modifed even while the tempo is
kept constant. When the orginal beat returns after this break, it *too*
sounds like a change yet again! This is possibly the first time we've seen
this trick in a Beatles song, though in the future it would become one of
John's own trademarks; viz. "We Can Work It Out", "Girl", and many later
songs such as "Good Morning Good Morning", "Yer Blues" and "Happiness Is
A Warm Gun".
- The song is unrelievedly in the key of E Major with the exception of the
intro section which contains blue hints of the parallel minor of e. Though
only seven different chords are used throughout, three of them (almost
half the budget) are altered or borrowed ones, not occurring naturally
in the home key. In order of appearance these are:
- The V-of-V-of-V (C# Major); something I don't believe we've seen
before now in a Beatles song.
- The V-of-V (F# Major); which on the contrary, we've seem time and time
again in our studies.
- The flat-VI (C Major); sometimes jokingly referred to as the "Peggy
Sue" chord, we've seen it before in "PS I Love You", "It Won't Be Long",
and the much later "Birthday."
- Although the harmonic rhythm is quite relaxed throughout most of ICYN, with
chords tending to change only once every other measure, the frequent use of
the three non-diatonic chords listed above create a sense of continual,
restless motion even in absence of a clear modulation of key.
- By the way, we observed an analogous harmonic scenario to this one in "Hold
Me Tight" although the implementation details there were very different.
- The tune has an underlying pentatonic flavor; note the E->G#->B-C# hook
phrase (on the words "but you're not there." Overall, it's not as strictly
pentatonic as, say, "All I've Got To Do", since the 7th scale degree (D#) is
used liberally within the tune. By the same token though, the other
non-pentatonic scale degree (i.e. the 4th -- A) is carefully avoided.
- The change to a jazzy 'ska' beat in the guitar solo is the result of several
factors: Ringo's shift from even eighth notes to a more limping dotted
rhythm, Paul's shift from bassline work that is primarily root-note
oriented to a stepwise walking pattern, and of course, George's solo itself.
- John's double-tracked solo is the only vocal part. Inexplicably, the
synching of the overdub is much looser than usual. This is especially
noticeable in the the second half of the song following the guitar solo;
check out "but just the same" in the last verse.
- The intro provides four measures of instrumental lead-in to the first
verse. It is unusual both for its harmonic start away from the home key,
as well as the deceptive way in which the nature of the opening guitar lick
(with its G and D naturals) misleads you into thinking the song is going to
be more bluesy than it actually is:
|F# |B |E |B |
E: V-of-V V I V
- The initial verse consists is eight measures long and it parses into four
short phrases equal in length. Harmonically it opens up wide with three
dominant seventh chords in a row:
|E |- |C# |- |F# |- |B |- ||
E: I V-of-(V-of-V) V-of-V V
- The appoggiatura in measure 5 of D#->C# sung in the melody over the F#
chord below it would be expressive under any circumstance, but the effect
here is enhanced by the fact that the D# is the first occurence in the
melody of a non-pentatonic scale degree.
- The variant starts off very much in parallel with the initial verse, but in
the second half both the choice of chords and the pace at which they change
is modified to help articulate a sense of closure:
|E |- |C# |- |F# |A |E |- ||
E: I V-of-(V-of-V) V-of-V IV I
- The final cadence here is made via the IV chord instead of the more
"standard" V, in spite of the fact that the initial verse had ended
on V, and this second verse happens to set up its own expectation of
the V with a V-of-V chord in measure 5. Following the V-of-V with IV
connotes a subtle sense of deferred gratification and it would become a
long-favored Beatles trademark; we saw it in our look at "Eight Days A
Week", but it also shows up in the canon as late as the title track on
"Sgt. Pepper's Lonely Hearts Club Band."
- The bridge is another eight-measure section, and it too parses into four
short phrases of two measures, each:
|A |- |c# |- |F# |- |C (nat)|B ||
E: IV vi V-of-V flat VI V
- Harmonically, this section has a roving feeling of being ungrounded in
any one specific key from the way in which the I chord of the home key is
- A sense of climax is provided by the manner in which the open ending on
V is set up by the flat-VI chord and the fact that the melody of this
section peaks out at an ever so slightly higher pitch than do the verses.
- Further bridge-like contrast is found here use of an ostinato figure
(similar to one heard in the verses of "Hold Me Tight") in the lead guitar.
- The outro is uncannily similar to the one in "Don't Bother Me" including
such details as the title hook phrase, the I-IV chord progression, and
the usage for the first time in the song of the syncopated chord change
A FINAL THOUGHT
- The lyrical theme is angst-ridden to an extent that is consonant on some
level with other trends in the rest of the group's music at this point in
time and yet the song seems a little detached albeit not insincere. I'll
stand by my opening comment regarding the way in which the whole production
of this one is stylistically anomolistic. Perhaps this is bound up in
the fact that it was written with the apriori intention of being given
away to Billy J. Either that, or maybe I've just been spoiled over the
years by the image of the later cover by the Mamas and Pappas :-)
Alan (firstname.lastname@example.org *OR* uunet!huxley!awp)
"Control yourself or you'll spurt. He's bound to be somewhere." 012092#47
Copyright (c) 1992 by Alan W. Pollack
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Ook op Past Masters, Vols. 1:
(c) 2022 Serge Girard