Instruments heard on this recording include...

#Instruments heard on this recording include... professional#

If he played the normal Horn in F, transposed, his score would show a D# for that high note (if the song was actually recorded in B. This question is вЂњimportantвЂќ because of the quote by Paul where he recalls Alan Civil telling George Martin, вЂњyouвЂ™ve got a high F written downвЂќ. The most common I believe is the Horn in F, but there are also horns in practically every other key (Horn in Bb, in A, in Eb, etc.), probably due to the difficulty in keeping these things in pitch over different keys (IвЂ™m a musician, but not a horn player). And since IвЂќm in lockdown, hereвЂ™s yet another contribution of confusing minutiae, in the form of two questions that are related (I swear!).ДЇirst question: IвЂ™d like to know what kind of French Horn Alan Civil played on the track.

I agree with other comments here, itвЂ™s somewhat ridiculous the degree to which this stuff is picked apart, but itвЂ™s also good, clean fun, too! And since I was thrown into some forensic work for myself about this song, I found this thread, and itвЂ™s great. IвЂ™m really late to the party here, but this is so much fun. I also happens to be the easiest scale, ergonomically, to play on piano.) Having digressed this far, I might as well add that I associate B-major with the intro and interlude to вЂњвЂ¦WalrusвЂќ and the interlude to вЂњDay TripperвЂќ. (Anyway, I learned it in B, same as Penny Lane, which I guess was lowered from C, and probably further lowered to B-flat for the trumpet solo, but I havenвЂ™t researched that. Possibly, for the REVOLVER horn session, they slowed it down to A-flat, making the high note an вЂFвЂ™ it does seem to have a thinner, quasi-flugelhorn tone which would result from playing back the recording whole-step higher (in B-flat). First, I read that Alan Civil said the track had been recorded вЂњin the cracks, between B-flat and BвЂќ - probably having been vari-speeded down from C, which is where Macca plays it on his вЂњYesterdayвЂќ guitar (tuned down a whole step) here - putting it in B-flat for the strings & horn, WHOSE HIGH NOTE IS CONCERT вЂGвЂ™ (written вЂDвЂ™). The interesting question is, вЂњHow the heck did they do so much?вЂќ вЂњWhy couldnвЂ™t they have done more?вЂќ is not the interesting question. The Beatles created a lot of standards - 20, 30, 40 or more. The making of one great standard is a sort of miracle.

#Instruments heard on this recording include... professional#

To write and record one great song, one single song that is loved by millions, that endures for years and becomes a classic, a standard, is the dream of ten thousand professional songwriters, and wanna-be songwriters, in London, N.Y., L.A., Nashville, and in small towns and cities across the globe - and theyвЂ™re not able to do it.

The making of a great song and a great recording of that song are dependent on many factors coming together all at once - the songwriter gaining access to the depths of his/her unconscious (difficult to do, and scary), the presence in those depths of useful material (ideas, words, music) worth getting to (extremely rare), confidence that whatвЂ™s residing in those depths is worth getting to, the vibe given off by oneвЂ™s bandmates and producer, the vibe of the culture, maybe even the vibe of the security guard standing at the gate of the studio. ItвЂ™s reluctant to come forth because it involves extreme vulnerability. Or, to offer another example, why were Mick Jagger and Keith Richards red-hot for several years and thenвЂ¦.not so much? Why was Francis Ford Coppola the greatest film director in the world for 10 years and thenвЂ¦.not so much? The reason is, creativity is complicated and difficult. вЂњIt makes you wonderвЂ¦.вЂќ - the same might well be asked of, say, Bob Dylan, who, years later, looked back on the вЂњwild mercury soundвЂќ that he found circa 1965-66 and wondered why he couldnвЂ™t get it back.