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Notes on "Can You Take Me Back"

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Notes on "Can You Take Me Back"

KEY F Major/minor

METER 4/4

FORM Verse -> Verse (fadeout)

General Points of Interest

Style and Form

"Can You Take Me Back" stands on the borderline for me in terms of whether it should be included in the official canon of Beatles songs. It's performed over a static single chord, presented to us in fragmentary form, and isn't even included on the printed track list of the album on which it appears. On the other hand you can't really argue that it is any less substantive or discretely distinctive than the other White Album fragments or bonsais that *do* appear on the track list.

Regardless, the song bears interest primarily for its melodic quality, free-verse phrasing, and its uncanny contextual affect.

Secondarily we learn from the 9/16/68 "I Will" session at which "Can You Take Me Back" was recorded that horsing around in the studio with half-remembered older songs, or vamping around with songs being made up on the spur of the moment was a Beatles phenomenon hardly limited to the Get Back Sessions as one might otherwise suppose. Anthology 3 has eventually familiarized us with the fragmentary "Step Inside Love" and the improvisatory "Los Paranoias" from the same session.

The officially released portion of "Can You Take Me Back" was skillfully excerpted from a longer performance to isolate the best 28 seconds of the entire performance, and create the illusion that the remainder is as special; kind of like an artfully cropped photograph. What we experience as a haunting fadeout verse in mid-course of what we assume is a second verse turns out to be part of a dinky, complete ending coda if you bother to check out the readily available bootlegs of longer excerpts of the session. Indeed, those outtakes reveal that Paul did not have any more musical or even worthwhile lyrical material in hand for this number on that day beyond what we already know. If anything, the shorter excerpt is an improvement over the raw track; shades of "Dig It."

Melody and Harmony

The tune is based on a strictly pentatonic blues lick covering the relatively broad range of a 10th; i.e. F-Ab-Bb-C-Eb running from the F below middle C to the Ab above it.

The harmony is a pedal point of a dominant seventh on the I chord, with the A-flats of the tune providing the texture of a pervasive cross-relation.

Arrangement

We have just Paul on acoustic guitar, with Ringo and John providing light percussion effects.

Section-by-Section Walkthrough

Verse

The verse is 12 measures long. On some internal level Paul must have been keeping track of this as "3 times 4" but his scanning of the lyrics in terms of both actual phrase lengths and the placement of syncopated accents is artfully insistent:

     Can ...          where            can ...     back?
    |1   2   3   4   |1   2   3   4   |1   2   3   4   |1   2   3   4   |


     Can ...          where            brother take me back ----------------
    |1   2   3   4   |1   2   3   4   |1   2   3    4  &   |1   2   3   4   |

     -------------------  can.. take me back -------------------------
    |1   2   3   4   |1   2   ..3    4  & |1   2   3   4   |1   2   3   4   |

The first sung phrase begins on the downbeat of the 1st measure and ends with a hard accent just before downbeat of measure 4, leaving the guitar vamp to fill out the rest of it.

The second sung phrase also begins on the downbeat of the 1st measure, but pitches its sustained, mid-point high note in exactly the same rhythmic location as the end of the first phrase. This high note is tied all the way into beginning of the 3rd musical phrase place and ties it over into the beginning of the 2nd measure of the 3rd musical phrase.

A brief third sung phrase is squeezed in starting right on the tail of the second sung. The third sung phrase places its ending accent just before the downbeat of the 3rd measure of the 3rd phrase though its melissma sustains to the end of the 12th measure.

Some Final Thoughts

The album context of "Can You Take Me Back" is ambiguous, the song not being singled out per se on the track listing. Are we to consider it as a trailer to "Cry Baby Cry" or a curtain raiser to "Revolution 9"? For my money, the decision comes down unequivocally on the side of the latter regardless of where the CD puts it.

In context of what's about to follow, the protagonist of our little fragment comes off like someone being carried off to some new experience, location, or even a "reality" with strongly mixed feelings; say equal parts awe-struck anticipation, and the primal fear of possibly never being able on his own to get back where he came from. It's kind of a warm-up for, or a darker underside of "Golden Slumbers."

Regards,

Alan (awp@world.std.com)

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"I don't want to find you've lost him."                      020901#198

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Copyright (c) 2001 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 rec.music.beatles. The content from this newsgroup is archived at http://www.recmusicbeatles.com/, and Alan W. Pollacks "Notes On" series can be found at http://www.recmusicbeatles.com/public/files/awp/awp.html

. 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


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The Songwriting Secrets of the Beatles


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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'.

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