George Martin has died [Beatles producer]

[IvoryTowerDenizen]

Edited title for clarification of which George [not RR] Martin had died.

[JKellyMap]

Thanks, WordMan, for the link to Geoff Emerick’s thoughts.

One more thing about Beatles harmonies – they were more known for their parallel fourths, not fifths (nor the more common thirds), as explained here:

The vocal counterpoint of the verse starts off as plain parallel thirds, but then changes over to trademark-Beatles parallel fourths by virtue of Paul briefly holding over one note (marked with an asterisk in the transcription below) and then following the pentatonic scale downward the rest of the way:
“All I’ve got to do …”
Paul: G# F# E F# |F# E * C# B |C# B G#
John: E D# C# D# |D# C# B G# F# |G# F# E

[WordMan]

@drad_dog

The link in post 5 about the Hard Days night chord is superb.

Somehow Randy Bachman heard Lennons chord differently. Don’t think he accounted for Martins piano.

I just read the Peter Guralnick book about Sam Phillips, and he says in that book that Elvis was his own producer after the first batch of chet atkins produced sides. I find this surprising and hard to feature. He could’ve used a Sir George himself I think.

Didn’t Bachman listen to the master tapes track by track? Yes, the link in Post #28 says he heard the tracks via Giles Martin at Abbey Road.

I enjoyed the Guralnick book on Phillips. I started a thread on it a few months ago…

[drad_dog]

@WordMan

Didn’t Bachman listen to the master tapes track by track? Yes, the link in Post #28 says he heard the tracks via Giles Martin at Abbey Road.

I enjoyed the Guralnick book on Phillips. I started a thread on it a few months ago…

Yes. It’s curious. Randy says Lennon is playing Dsus4.

The Fourier says he was playing the same as George H. With a low F, A etc. It accounts for the chiming as being from the 12 string effect of one guitar.

For solo guitar it’s gonna be best played as G7sus4, but that F in the bass is what they wanted. It makes a more intriguing step up to the G when the verse starts.

[drad_dog]

@JKellyMap

Thanks, WordMan, for the link to Geoff Emerick’s thoughts.

One more thing about Beatles harmonies – they were more known for their parallel fourths, not fifths (nor the more common thirds), as explained here:

The vocal counterpoint of the verse starts off as plain parallel thirds, but then changes over to trademark-Beatles parallel fourths by virtue of Paul briefly holding over one note (marked with an asterisk in the transcription below) and then following the pentatonic scale downward the rest of the way:
“All I’ve got to do …”
Paul: G# F# E F# |F# E * C# B |C# B G#
John: E D# C# D# |D# C# B G# F# |G# F# E

I guess I got my thirds and fifths mixed up.

[Magiver]

[quote=“GIGObuster, post:28, topic:748390”]

I aways love this deconstruction from Randy Bachman’s Guitarology:

[/QUOTE] Except there are 2 versions of it by the Beatles. The one they play live with their guitars and the one that was recorded on the album. Which included a piano chord. [Listen here](http://www.guitarworld.com/beatles-multitracks-reveal-true-hard-days-night-chord-video). The peddle is held down so the other strings in the piano resonate to the notes played. It cannot be done with an electronic piano.

When you hear the original recording, you are literally hearing George Martin.

[Sam_Stone]

Martin wasn’t just a producer - he arranged some of the music, performed with the band on several songs, and even added parts to songs by himself without even consulting the band.