Alan Aldrigde, The Beatles Illustrated Lyrics John Lennon, Paul McCartney, Ringo Starr en George Harrison Alan Aldrigde, The Beatles Illustrated Lyrics (c) Alan Aldrigde, The Beatles Illustrated Lyrics

Index     Home     Vorige    

What Goes On

Composer(s) : Lennon and McCartney
Year : 1965

Chords/Tabs: What Goes On

Notes on "What Goes On?" (WGO)

KEY	E Major

                 ------- 2X -------
FORM	Intro -> Refrain -> Verse -> Refrain (Solo) -> Verse ->
			Refrain -> Outro (w/complete ending)


Style and Form

- This almost parodistic hommage to the same C&W style the Beatles had earlier covered in the likes of "Act Naturally" is a typical Ringo 'vehicle' if ever there was one right down to the scenario of sad-and-lonely betrayal described in the lyrics.

- The form is a folksy strict alternation of refrains and verses, the key is the ever popular choice for the Beatles of E Major, and the tempo is *fast* -- fast enough that 2/2 might be a more accurate designation of the meter than the 4/4 that I have chosen.

Melody and Harmony

- The basic materials are relatively simple all around.

- The melody essentially noodles around stepwise within a five note range. The mode is almost purely Major, though with an occasional hint of the bluesy minor 3rd, as in the final phrase of the refrain (on the words "in your mind").

- The harmony is essentially limited to the set of I-IV-V chords, though some interest is added by the big play made out of the 4-3 suspension on V (found at the climax of each refrain) and the use of the minor iv in the verses.


- Ringo's single-tracked lead is mixed in stereo to the far left, while John and Paul's backing vocals are equally far to the right. The backing parts for the refrain are quite idiomatically twangy for the context, though the verses feature a subdued 'oohing' that is surprisingly, for the context, reminiscent of what we just saw in "Michelle."

- The lead guitar part is recorded with an almost surreal clarity for its time, rather suggestive of today's "direct to digital" sound quality. It's a shame, therefore, that the riff playing on this track is not up to the standard of the recorded sonics.

- Speaking of which, the recording of this song is well known for its unusually large number of so-called anomolies; one of which (the rejoinder to Ringo in the second verse) smacks of horseplay, while the others sound more like an unaccustomed and accidental exposure of Ringo's singing or humming to himself to help keep his place during the portions of the song where he wouldn't be singing lead.



- The intro consists of a 3-beat pickup plus four simple bars which establish, in good introductory form, the home key and the overall instrumental style and texture for the song:

|E |B |E |- | E: I V I


- The refrain is 20 measures long and is unusually made up of *five* phrases equal in length, making for a poetic pattern of AB/AB/C:

------------------------------- 2X ------------------------------ |E |- |- |- ||E |- |A |- || E: I IV 4-------------->3 |B |- |E |- | V I

- Ironically, this five-phrase structure is one of the few non-routine features of this otherwise routine little song, yet it's a device whose handling here is a bit too clever by half, and winds up at the root of what I consider to be a close to fatal lack of forward drive.

- The asymmetry and extra length inherent in a five-line stanza requires a special compensatory effort to prevent it from coming off as stilted. In this case, unfortunately, the opposite seems perversely true: i.e. all five phrases are on the short side with long breathing spaces of close to two full measures following on each of them, a gesture that inhibits both connectivity between successive phrases as well as momentum from building over the series of them. Furthermore, the ultra simplicity of the chord progression, further exaggerated by the slow pace of the harmonic rhythm, only makes the first problem worse.

- For me, the almost unrecoverable low point of the section is the moment in which you realize (even if you're not a musicologist your mind does register this subconciously, I dare suggest) that, oh no!, they're actually gonna repeat all of the first eight measures all over again instead of moving onward. The 4-3 suspension over the V chord in the last phrase adds a well needed dose of last-minute intensification, but it's awfully belated. Try *this* experiment -

- eliminate the repeat of those eight bars and try what's left of the refrain as a 12-bar form and see how much better it flows.


- The verse is an asymmetrical fourteen measures long, and is built out of four phrases in an A/A/B/C poetic pattern:


- 2X ------------------------------ tune: |B B B G# |A G# F# E |F# F# F# G# |A | |E |- |a |- | I iv |A A A A |G# F# E F# |G# |a |B |E |- | iv V I |B |- | V

- The harmonic syncopation of sustaining the a minor chord over the phrase boundary of measures 8 and 9 is another source of the kind of drag I've cited against the refrain. Nevertheless, there are a couple of helpfully counter-balancing factors in this section: the harmonic rhythm picks up a bit here, and the foreshortened final phrase (only two measures) lends a mild effect of acceleration; run the experiment in your head of allowing the 'C' phrase to be rounded out to a more usual full four measures and not how badly it schleps.

- The melody provides a modicum of added interest in this section in the form of some appoggiaturas. The F#'s and G#'s against the a minor chord are especially pungent.

Solo Refrain Section

- The underlying flaws of the vocal refrains are further exacerbated in this solo.

- I'd assume they were trying to be clever by singing all the way through the first phrase of this section and then leaving the lead guitar to continue on by himself, but for my money, this gesture backfires by throwing off the listener's sense of the section's structure. I have trouble hearing the beginning of the solo itself as the *second* phrase of the refrain, as opposed to the first phrase of a new section, in which case the slow harmonic rhythm and overall weak harmonic teliology of the section don't help at all get me re-oriented.

- Furthermore, the style and content of the guitar riffs, which sound fine when used as they are during the rest of the song as obligato fills between sung phrase, sound here like disjointed non-sequitors rather than a solo with a beginning, middle, and end.

- Again, the 4-3 play on the V chord helps things end up on a decent footing but there's a good 8 measures or so before then where you, as a listener, are left drifting without a clear sense of formal context.


- The coda this time finds the group vamping on the I chord for an additional four measures, ending finally with one last chord that's allowed to reverberate almost until it dies out on its own. Beatles tracks to this point in time tend to generally exhibit a rapid fadeout of the last chord imposed during the final production mixdown. Even in this song where the reverb is allowed to go on for a second or two longer than average you can *hear* where the faders are applied if you listen.

- You can hear Ringo clearly repeating the phrase "in your mind" throughout this outro, I assume, to help him keep count of the number of measures before the end.


- If you grew up in the States, then this selection was self-effacingly tucked away near the back end of the "Yesterday and Today" album in between what had been the two 'A' sides of the "WCWIO/DT" single. But on the CD, as in the original British lineup, you flip over the record, so to speak, and instead of hearing "It's Only Love" (an expectation which dies very hard for those who have their pubescent experiences permanently downloaded like a TSR) you get *this* potboiler; and a bit of a letdown.

- It's not that "What Goes On?" is entirely without either merit or charm; the song is not so much a "bad" one as much as it appears weak in context of what its authors were capable of on a fairly regular basis by this point of their career. Lewisohn's discovery that the song originally dates as far back as the Pre-Beatles/Quarrymen days makes some excuse for it, I suppose, but sure doesn't make the song itself any better.

- What I do find difficult to completely fathom is how, for all the hurry against a deadline which underlied the production of the album, they had the self-restraint to reject "12-Bar Original" (ironically recorded at the same session) yet let this one through even though it is in some respects only marginally better.

- Of course, I suppose if you want to be mean, you can look to the unique attribution of this song (L&M& Starkey) and blame it all on Ringo. Hey, if the group dynamic portrayed in "Hard Day's Night" is anywhere close to true, I suppose that in this case the group itself might have done precisely that; i.e. blame Ritchie :-)

Alan (

"I recognize the psychological pattern."	              060693#83

                Copyright (c) 1993 by Alan W. Pollack
                          All Rights Reserved

       This article may be reproduced, retransmitted, redistributed and
       otherwise propagated at will,  provided that this notice remains
       intact and in place.

Ook op Rubber Soul:

ChordsNotes On
Drive My Car Drive My Car
Norwegian Wood (This Bird Has Flown) Norwegian Wood (This Bird Has Flown)
You Won't See Me You Won't See Me
Nowhere Man Nowhere Man
Think for Yourself Think for Yourself
The Word The Word
Michelle Michelle
What Goes On What Goes On
Girl Girl
I'm Looking Through You I'm Looking Through You
In My Life In My Life
Wait Wait
If I Needed Someone If I Needed Someone
Run for Your Life Run for Your Life

Ook op Yesterday and Today:

ChordsNotes On
Drive My Car Drive My Car
I'm Only Sleeping I'm Only Sleeping
Nowhere Man Nowhere Man
Doctor Robert Doctor Robert
Yesterday Yesterday
Act Naturally Act Naturally
And Your Bird Can Sing And Your Bird Can Sing
If I Needed Someone If I Needed Someone
We Can Work It Out We Can Work It Out
What Goes On What Goes On
Day Tripper Day Tripper

(c) 2023 Serge Girard