The Beatles: Note By Note

In this lecture, Kenyon examines "I'll Keep You Satisfied," a 1963 song written by Paul McCartney for Billy J. Kramer with the Dakotas. Exploring the lyrics, Kenyon describes the song as a confident yet straightforward romantic pitch, with simple rhymes and repetitive phrasing that reflect McCartney’s early pop sensibilities. The analysis dives into the harmonic structure, emphasizing its jazz-influenced ii-V-I progressions and a ragtime-inspired four-to-minor-four progression. Kenyon also highlights the pentatonic melody, which lends the song an easy-to-sing quality characteristic of McCartney’s early writing. He critiques the static middle eight, pointing out its lack of harmonic relief and melodic innovation compared to McCartney’s later work. Through detailed musical and lyrical analysis, Kenyon illustrates how "I'll Keep You Satisfied" showcases McCartney’s evolving songwriting while serving as a testament to the Beatles’ efforts to craft hits for other artists, marking a unique moment in their early career.

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In this lecture, Kenyon explores "I'll Get You," a fascinating early Beatles track co-written by Lennon and McCartney. As the B-side to "She Loves You," this song offers a unique glimpse into the band's evolving songwriting techniques. Kenyon examines the track's lyrical themes, which blend imaginative visualization with a persistent declaration of affection, revealing John Lennon’s influence through its introspective tone and unconventional phrasing. The analysis highlights the song’s harmonic subtleties, including the use of appoggiaturas and color chords, alongside its progressive ostinato—a technique where the melody repeats while the chords evolve beneath it. Kenyon also discusses the song's rhythmic phrasing, harmonies, and the dynamic contrasts between sections, showcasing the Beatles’ early experimentation with structure and arrangement. This lecture provides a deep dive into a lesser-known gem, shedding light on the compositional elements that mark the band’s journey toward musical sophistication.

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Kenyon's Beatles lecture series offers an in-depth analysis of "I'll Be On My Way," a song written by Paul McCartney at age 17 and given to Billy J. Kramer and the Dakotas. This lecture explores the track's mature lyrical themes of parting and self-reflection, the influence of Buddy Holly on its musical structure, and the distinctive chord progressions that evoke a journey. Kenyon also contrasts the Beatles' minimalist BBC recording with Kramer's studio version, shedding light on how the band's arrangements evolved. With insights into the broader cultural and musical context of 1960s Liverpool, the series provides a unique perspective on the early stages of the Beatles' songwriting process. This episode reveals how the group's unfinished ideas still offered a glimpse into their emerging artistry, inviting listeners to appreciate the nuances behind one of the Beatles' lesser-known tracks.

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In this lecture, Kenyon takes an in-depth look at "From Me to You," a 1963 song by John Lennon and Paul McCartney. As the Beatles’ first number-one hit in the UK, the song showcases their early knack for melody and personal connection with fans. Kenyon explores the song’s structure, including its signature harmonica intro, chord progressions, and its place in the "pronoun game" used by the Beatles to engage listeners directly. He delves into the harmonic shifts, blues influences, and lyrical themes, breaking down how the song’s simplicity belies a sophisticated use of tension and release. The lecture also highlights the unique decision to end with a harmonica phrase that harkens back to the intro. With historical context and musical insights, Kenyon reveals how "From Me to You" fits into the Beatles' broader evolution and the songwriting genius that made them pioneers in pop music.

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In this lecture, Kenyon explores "All I’ve Got to Do," an introspective track from With the Beatles. Written by John Lennon, the song combines soulful simplicity with sophisticated musical elements, revealing the Beatles’ growing artistic depth. Kenyon examines its unique structural features, such as the interplay between a darker, introspective A section and an uplifting middle eight, each representing contrasting emotional states. He delves into the song’s harmonic shifts between E major and C-sharp minor, its use of progressive ostinato, and Lennon’s hallmark techniques like appoggiaturas and the Lennon triple. The lecture also highlights the cultural context, including the intentional inclusion of American references like the telephone to appeal to transatlantic audiences. By analyzing Lennon’s melodic phrasing, harmonic choices, and lyrical themes, Kenyon uncovers the nuanced craftsmanship behind this understated gem. This session offers a deeper appreciation of how "All I’ve Got to Do" balances vulnerability with musical sophistication.

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