.::”She’s Leaving Home” – The Beatles – Musical Analysis::.

http://www.youtube.com/watch?v=-lG3nXyI41M

The diamond in the crown of the 1960’s musical British Invasion would largely be considered to be The Beatles, an English rock band formed in Liverpool in 1960. Before The Beatles, rock music was rather rigid, wooden and almost formal, as was the world’s atmosphere at the time of the 1950’s. The Beatles brought the formality of the previous era’s music to its knees and revolutionized sound. While the world itself was undergoing radical change and evolving from an era of stilted emotions and old-fashioned ideals to a time of war protests, equality, civil rights and sweeping change, the Beatles were bringing the equivalent amount of change to the musical world. The changes the music of the times were undergoing mirror the social and political alterations of the era. Older, conservative values were being swiftly replaced by new, progressive values, causing the previous generation to gaze in mystification at the social changes taking place. In tune with the changing value system was the evolving sound of popular music.  “She’s Leaving Home,” recorded on March 17, 1967, released by Parlophone Records on June 1, 1967 (http://en.wikipedia.org/wiki/She’s_Leaving_Home), and placed  as song number six on side one of Sgt. Pepper’s Lonely Hearts Club Band, interestingly comments on the old-fashioned principles and ethics of the previous generation through a parody of classical music. The song provides social commentary by mocking the attitude of a mother and a father during the 1960’s who completely misunderstand their daughter and why she has chosen to flee. They represent all parents and children of that time.

The Beatles were regarded as the personification of progressivism. They were staunchly anti-traditionalism and the ideas they put into their music reflected this notion. The group originally consisted of John Lennon, George Harrison, Paul McCartney, Stuart Sutcliffe (who died of brain hemorrhaging after only having been with the band from 1960-1962), and Pete Best. Best was with the band from 1960-1962 (http://classicrock.about.com/od/bandsandartists/p/beatles.htm) and was replaced by Ringo Starr. John and Lennon and Paul McCartney wrote “She’s Leaving Home” together, which was produced by George Martin.

“She’s Leaving Home” was based on the tale of a young woman who had left home. McCartney and Lennon took some liberties and added details about how the young woman needed more from life, especially the fun that had always been denied her. The chorus of the song is from the point of view of the parents, who are traditional and do not understand how their daughter could possibly leave them when they genuinely believe they have given her everything she could possibly wish for. These are the victims of a communication gap between generations. As the song is analyzed, we see how the Beatles are actually commenting on the social atmosphere of the times, including the generational gap, and mocking the naivety of the parents and their old-fashioned sensibilities.

“She’s Leaving Home” is one of very few songs by the Beatles on which they themselves did not play any music instruments. Paul McCartney sang lead vocals and backing vocals and John Lennon sang vocals and backing vocals. The Beatles hired Erich Gruenberg, Derek Jacobs, Trevor Williams, and Jose Luis Garcia to play the violin, John Underwood and Stephen Shingles to play the viola, Dennis Vigay and Alan Dalziel to play the cello, Gordon Pearce to play the double bass and Sheila Bromberg to play the harp (.http://www.beatlesbible.com/songs/shes-leaving-home/). Intriguingly, Bromberg was the first female musician on a Beatles record. George Martin, in addition to producing the record, conducted the string section as well. Mike Leander scored the piece. The stereo version runs at a slower pace than the mono mix, and thus is a semitone lower in pitch (http://en.wikipedia.org/wiki/She’s_Leaving_Home). A 2007 article in Mono magazine stated that the mono mix was sped up to make Paul McCartney sound younger and tighten the track (Irvin). The piece’s time signature is 3-4 (http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0061861). The tempo for the entire piece is slow.

The song begins as we hear the rippling of a harp, seemingly mimicking tiptoeing and tentativeness. There is an uneasy, apprehensive feel during these notes. The lyrics—“Wednesday morning at 5 o’clock as the day begins”– are sung in a slightly melodramatic manner as the harp is plucked in the background, a brief, conventional sound faintly echoing classical music. Although the Beatles are not strangers to classical music, the initial harp seems to be an overt touch in this instance, leading us backwards in time to somewhat classical conventions. The intriguingly delicate harp plucks, evoking a different era, are joined by a somber violin playing deep notes evoking sadness. The music sounds as though it is in a minor key, reinforcing the concept of sadness. The harp and the strings combine to fashion the melody of the song.

The somber notes lead us into the lyric—“Silently closing their bedroom door/ Leaving the note that she hoped would say more”—which are sung repeating the same sequence of notes as the solemn violin played twice, sans harp, leaving the daintiness behind. This is pure seriousness. The lyrics are sung in a forlorn, hopeless mood. The young woman sadly must leave without her parents’ knowledge, leaving a note in her wake.

We are rejoined by the dainty sentimentality of the plucking of the harp while a cello joins in a lower register playing the melody above the lyric—“She goes downstairs to the kitchen clutching her handkerchief”. The combination of the deep notes of the cello and the lyric evokes the sad, lonely image of a young girl nervously wringing a handkerchief in anticipation of what she has decided for her future.

An interlude consisting of the strings playing the melody builds anticipation .The notes sound like flats, implying unease and sorrow with just a hint of mockery .The anticipation is met by the original melody played in a medium octave twice along with two sets of lyrics chronicling her emergence to the outside world as a free woman, albeit under sorrowful circumstances that the melody evokes.

The very last note of the melody, which sounds like the last note of a classical piece, leads us into the second stanza of the song, which consists of a chorus that is strongly reminiscent of a church choir. This is strongly suggestive of the religion and traditionalism that the parents portrayed in the song would hold dear. The vocal tones of Paul McCartney are transformed into an angelic chorus by being rerecorded to create the impression of more voices.  “She/is leaving/home,” sung in falsetto to mimic a boys’ choir singing a hymn, is joined by deeper choral voices representing the parents’ view on the matter. Paul sings their parts as though they were angels, but is in reality mocking them. He portrays them as saintly beings because, as they proclaim in the lyrics, they gave her their lives, sacrificing everything they could and gave her “everything money could buy.” The word “home” is wailed, to represent the bawling parents. “Sobbing violins” play in the background to mock the crying of the parents the chorus represents. These are the smallest violins playing the saddest tune. The parents were completely naïve as to their daughters needs; the musical narrators mock the parents because it serves them right their daughter left for greener pastures.

The last two verses of the stanza are also sung in a mockingly angelic voice, informing us that the daughter is “leaving home after living alone/ For so many years.” More sobbing violins play in the background. Physically leaving only confirms the fact that she has been alienated from her parents for years. The words “Bye, bye” are sung despondently over the first track of the words “so many years,” adding a sense of finality to the daughter’s decision.

The violin strings are struck three times as we enter the third stanza, which runs in parallel to the first stanza. The notes are in a deeper frequency than the notes in the first verse of the first stanza, because the situation is deeper and darker to the parents. The same somber violins play identical note progressions in both the first and third stanzas after the first verse. The string instruments play music that is far closer to the classical music of the parents’ era rather than the popular music of the 1960s, as Paul describes the parents’ morning routine. The two stanzas run parallel to each other: the first is about the daughter’s morning routine, the second is about the parents’ routine and their discovery of what their darling daughter has done. The second and third lines in the first and third stanzas seem to be near-identical. String instruments, with the exception of a few notes that add the effect of poignancy after “Picks up the letter that’s lying there,” add to add the feeling of suspense regarding what will occur after the mother has found the daughter’s goodbye letter. The strings in the fourth verse of this stanza play longer notes than in fourth verse of the first stanza, suggesting melancholic feelings. The fourth verse in the third stanza concludes with the use of a cluster of startling notes at the end of the line that signal the mother’s emotional agitation over her daughter’s actions. Beneath the disquieting violins the cello plays a deep, mournful melody. The mother asks how the daughter could possibly do such a thing to her as the string instruments play the same sad, dated melody as in the parallel verses in the first stanza louder. The sarcastic tone of singing is used here to mock the mother’s questions, as if to ridicule and ask how she could possibly have ignored the situation until now that the daughter has flown the coop.

The last two notes played on the strings lead us into another faux church choir. The sarcastically angelic tone and note progression of “She/is leaving/home” repeats from the second stanza, to emphasize the parents’ religious tendencies and traditional mindset. The counterpoint harmonies express the thoughts and feelings of her parents, who were under the impression that they were completely self-sacrificing for their daughter. The word “ourselves” is sung trill-like, as though the word is being sobbed. The weeping violins and rippling of a harp play beneath the lyrics, satirizing the weeping parents represented by the chorus. The last two lines of the stanza are near identical to their lyric counterparts in the second stanza. This repetition calls attention to the definiteness of the situation: the daughter is saying ‘bye, bye’ once and for all.

The violin is struck three times signifying alarm as we are led into a procession of notes that begin with the quick trilling of a harp for a brief moment as we hear deep string notes and the harp being plucked playing the original melody. The melody is played with the notes translated in a lower octave, sounding far graver in this section than in the beginning, as we find out the daughter is far away by Friday 5 o’clock. This runs in parallel to the very first line of the song, where our story starts. The melody is played in a lower octave and leads us into violins playing staccato as the narrator tells us she is “meeting a man from the motor trade,” implying a sense of urgency to this meeting. One can sense a note of uncertainty. The future is up in the air.

The violins lead us once again into a saintly church choir one final time. In this instance, the falsetto voice sings “She/is having/fun.” During the counterpoint harmonies, the parents ask what they did that was so wrong and claim they were oblivious. When the word “fun” is sung in falsetto, the counterpoint harmony sings that “Fun is the one thing money that can’t buy.” This is the parents’ and the older generations’ guilty conscience recognizing that even though they thought they gave their children everything, they know deep down that happiness cannot be bought. The string instruments play a quasi-classical tune as the parental chorus continues admitting that something inside their daughter was denied. The farewell, “bye bye,” is followed by a crescendo in the music, showing the intensity of the parents’ realization that true happiness was denied from her all this time, thus being the cause of her fleeing. The piece concludes with the familiar phrase “She’s leaving home” in a lower register, a cello playing after every word, causing the mood of the song to sink one last time. “Bye, bye” is repeated once more signaling that indeed, the daughter is gone, and the piece ends with a harp being trilled, mirroring the opening sentimental harp.

The use of lyrics, arrangement, instruments and music of “She’s Leaving Home” work together to demonstrate the theme of the social climate of the times in the eyes of the younger generation who felt that the older generation was completely oblivious to their internal needs. The Beatles depict the reality of the younger generation and the illusions that the older generation had about the younger generation by playing melancholy music in relation to the daughter and mocking the parents and their ignorance in the chorus. This is far from a rock ‘n roll song; this is a sad, stilted song. The arrangement for the strings and harp in the song are semi-classical and old-fashioned, highlighting the parents’ out-of-date naivety. They mock the parents and underscore the girl’s sorrow at leaving home. The song is anti-sentimental and uses the conventions of typical drawing-room style songs to ridicule itself.

“She’s Leaving Home” is significant in the history of popular music because it illustrates the ability of a musical group to tap perfectly into the zeitgeist and provide social commentary that expertly hits the nail on the head. The younger generation of the times felt alienated and misunderstood, and the song takes to mocking their elders from the young generation’s point of view. A young girl leaving home was a common topic in the 1960s and the Beatles sing about it with the attitude of the times: distrust towards the older generation. “She’s Leaving Home” was the only non-standard rock track on Sgt. Pepper’s Lonely Hearts Club Band and therefore stood out and emphasized its message. The song’s historical significance lies in the fact that the Beatles, a popular music group at the height of its popularity, tapped into the zeitgeist and provided a counter-cultural, anti-bourgeois social commentary of the late 1960s.

Works Cited

Irvin, Jim. “The Big Bang!”, Mojo. March 2007.

“She’s Leaving Home.” beatlesbible.com. The Beatles Bible, n.d. Web. 20 Sept. 2010. http://www.beatlesbible.com/songs/shes-leaving-home/

Lennon, John and Paul McCartney. “She’s Leaving Home – The Beatles Digital Sheet Music.” Musicnotes.com. Musicnotes.com, n.d. Web. 21 Sept. 2010. http://www.musicnotes.com/sheetmusic/mtdVPE.asp?ppn=MN0061861

“She’s Leaving Home.” Wikipedia.org. Wikipedia, n.d. Web. 19 Sept. 2010. http://en.wikipedia.org/wiki/She’s_Leaving_Home

White, Dave. “The Beatles.” About.com. About, n.d. Web. 19 Sept. 2010. http://classicrock.about.com/od/bandsandartists/p/beatles.htm

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118 Responses to “.::”She’s Leaving Home” – The Beatles – Musical Analysis::.”

  1.    Amy Herzog Says:

    What a beautiful analysis! You link the arrangement, composition, and lyrics together in an insightful and organic way, and describe the sound so vividly.

    I must admit I had a very different reading of this song, which I found to be less mocking, and in fact somewhat sympathetic to the pain that the parents were feeling, at the same time that the lyrics reveal the chasm between the generations in terms of understanding. It’s interesting to think about the song in this light…

    Big time bonus points for reading MOJO magazine– the best music magazine around, in my opinion!

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