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Notes on "Wild Honey Pie"

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Previous page: Notes on "Ob-la-di, Ob-la-da" Next page: Notes on "The Continuing Story of Bungalow Bill"

This article is from Alan W. Pollack's groundbreaking series "Notes on the Beatles". Links in the orginal article is written in this colour: index to the series, while links I have added appears as standard links. Go here for more information on my site about the song

Notes on "Wild Honey Pie"

KEY G Major


        ------ 3X ------
FORM Break -> Refrain -> Outro (w/complete ending)

General Points of Interest

Style and Form

This little bonsai tree of a song compels our interest from at least three perspectives, no matter how slight you may find it in terms of content.

The first thing to note is how the song seems to be purposely placed where it is to keep you diverted and/or distracted while the stage hands change sets, as it were, during the entr'acte separating "Ob-ladi, Ob-la-da" from "... Bungalow Bill." The gesture represents a theatrical exploitation of the LP album qua "medium" that is not to be under-estimated.

Secondly, this song is, in terms of form, much more of a complete miniature than an offhanded fragment; as long as you're willing to step back and accept a rather minimalistic/schematic definition of "form." Paul would play this trick at least twice more with "Why Don't We Do It In The Road" and "Her Majesty." The "Brother, can you take me back ..." coda to "Cry Baby Cry" provides a clearly fragmentary counter example. And the mini-medleys of, say, "Happiness is a Warm Gun" and "You Never Give Me Your Money" alternatively suggest how similar fragments can be successfully integrated to produce a whole that is greater than the sum of the parts.

Melody and Harmony

There's not much of either here but what fits, we print :-)

The harmonic vocabulary essentially is no more than a semi- chromatic chord stream of dominant seventh chords, with *just enough* root movement included to establish a very bluesy kind of G Major as the home key. The blues are conjured here by the appearance of I with its dominant 7th, and the implied Major/minor cross-relation on I that is most pronounced at the very end of the song.

The way in which you hear B-natural topping the G Major chord at the start of this track in comparison with having most recently heard it as the root note of the previous song is a delightful cracked-mirror effect; one that was not lost on the likes of Beethoven, Schubert, and Bizet! (W.r.t. the latter, check out the Ouverture to "Carmen;" the outer sections are in A Major, but the Torreador Song middle section is abruptly in F.)


This is the first (in terms of order of appearance) of what would turn out to be a small, widely scattered group of tracks in which Paul, in spite of the relatively primitive techniques of the time, would self-produce himself as a one man band.

The backing track is dominated by a harpsichord, a drumming part that might have been thumped on an old skiffle tea chest, and what sounds like a "dobro" (or other very steely-sounding) guitar played with a glassy, comically inaccurate slide.

The vocal track is filled with twisty overdubs, all different, many of which sound like Paul's personal incarnation of some Monty Python-like Ministry of Funny Voices; it's a perennial Brit-humor thing, like dissing Roman Catholics.

Section-by-Section Walkthrough


The opening instrumental section which repeats three times more or less verbatim is an unusual 7 measures long; even for such a throwaway, they'd take the time to do something a little offbeat:

   |G |- |F |- |E |Eb |D |
G:  I                  V

All the chords are dominant sevenths; listen to the harpsichord part in which you can here the descending parallel set of tritones in the right hand: F/B -> Eb/A -> D/G# -> C/F#. The only chords that deserve Roman numerals are the I-V pillars.


The V chord that ends the break is resolved by this simple sung refrain whose lyrics are no more complicated than two-thirds of the song's title:

 |G7 |- |- |- |


The outro is just an extension of the refrain in which an unusually altered version of the V chord is used to make the final cadence [half-diminished]:

 -------------- 2X ---------------
 |G  |-  |d half dim  |-  |
  I                  v7 (b5)

 |G  |-  |

The bassline movement in the final measures goes from G to F and back again, tempting me to analyze the penultimate chord as f minor, or flat minor(!) VII. However, the persistence of the pitch D as a melodic type of pedal tone suggests that the chord is rooted on D (with both flattened 3rd and 5th), appearing in its 1st inversion; i.e. spelling it from the bottom up, F/Ab/C/D.

Some Final Thoughts

So, we find Paul playing tigers, again; this time with a rather amusing put-on of what might be stylistically described as a blue-grass, back-woods, ("Black Mountin Hills"?) melange. And that brings us to the third point of interest.

ALL the Beatles albums are stylistically diverse. Don't kid yourself; this is true even of the early ones some of you are used to dismissing more homogenized and somehow less profound than they truly are. But, against this backdrop, the White Album still represents not just a high water mark for sheer number of diverse styles included in a single collection, but it also courts an aesthetic of stylistic surprise, non-sequitor, and sound-bite.

For an album whose vanishing point is in the environs of "Revolution 9" followed by "Good Night," you could say that the rapid string of costume changes here in the middle of side 1 (don't forget to include the little flamenco cadenza for acoustic guitar in e minor), are an early clue to the new direction.


Alan (

"... four of fish and finger ..."                            081797#134

Copyright (c) 1997 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.

These articles were originally posted in the News Group The content from this newsgroup is archived at, and Alan W. Pollacks "Notes On" series can be found at

. I used to link to the versions published in Soundscapes before I decided to include them on my own site.

If you want to learn more about the musical side of song writing, chord progressions, harmony and theory through The Beatles songs (and/or The Beatles in particular), I recommend the following book:

Artist: Dominic Pedler

Arranged by The Beatles

More >>

The Songwriting Secrets of the Beatles

Book of the Month 2003-10
The Songwriting Secrets Of The Beatles is an essential addition to Beatles literature - a new and perceptive analysis of both the music and the lyrics.

More than thirty years after The Beatles split up, the music of Lennon, McCartney and Harrison lives on. What exactly were the magical ingredients of those legendary songs? why are they still so influential for today's bands? This groundbreaking book sets out to exlore The Beatles' songwriting techniques in a clear and readable style. It is aimed not only at musicians but anyone who has ever enjoyed the work of one of the most productive and successful songwriting partnerships of the 20th century. Author Dominic Pedler explains the chord sequences, melodies and harmonies that made up The Beatles' self penned songs and how they uncannily complemented the lyrical themes. He also assesses the contributions that rhythm, form and arrangement made to the Beatles unique sound. Throughout the book the printed music of the Beatles' songs appears alongside the text, illustrating the authors explanations. The Songwriting Secrets of The Beatles is an essential addition to Beatles literature - a new and perceptive analysis of the music itself itself as performed by what Paul McCartney still calls 'a really good, tight little band'.

Level: , 816 pages
RefNr: 0711981671
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