PAGE 10The Allais effect and the Black Sun
EDITA compendium of my messages posted on the proboards website for the past several years (
http://only1rad.proboards.com/ )...
As I said five years ago: it is very easy to see/discover that the Beatles songs are actually modified classical scores.
Martha my Dear is a modified classical song, Martha by von Flotow (see
#" class="bbc_link" target="_blank" rel="noopener noreferrer"> ). It is obvious that Paul II had no idea about this connection, when he said that Martha refers to his sheepdog...
Yellow Submarine is actually the theme from Verdi’s Aida March combined the Toreador song from Carmen by Bizet.
I invite everybody here again to study the actual complexity of the Beatles songs: it is unimaginable that, as raylo said before: "the beatles went from being a garage band to suddenly composing sophisticated tracks like 'and i love her' overnight, then advanced exponentially and levelled off quickly maintaining that level of musical quality and then broke up and suddenly became virtual garage players again. as judge judy says, 'if it doesn't make sense, it's probably not true'."
www.icce.rug.nl/~soundscapes/VOLUME01/A_Beatles_Odyssey.shtml www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtml Absolute proofs that only an expert in classical music could have been responsible for writing the Beatles music.
Yes, Adorno wrote the entire British invasion by modifying classical tunes, and yes he developed different styles for each and every group; he did not compose the music for money, not at all. Adorno was part of a secret society who recognized his amazing skills in teaching/understanding classical music and put them to good use. Before his death in August 1969 (the very reason the Beatles disbanded, as their master composer was gone) Adorno wrote hundreds of songs to be distributed later (1969 - 1975) to various groups, that is why the early 70s music sounded so much better than the late 70s music, and the very reason why Led Zeppelin were musically dead after the last of the Adorno songs, KASHMIR, was included on Physical Graffiti.
Perhaps you all are curious to understand how did Adorno manage to create a masterpiece such as KASHMIR. Actually it is made up of three classical songs: Ravel's Bolero and Holst's Mars the Bringer of War, combined with the 1st movement from Korsakov's Scheherazade (
#" class="bbc_link" target="_blank" rel="noopener noreferrer"> 5:05 to 5:30, especially 5:20 to 5:30 )
Here is another example for all of you.
#" class="bbc_link" target="_blank" rel="noopener noreferrer">The adaggio from Spartacus was modified by Adorno: first into SOMETHING (of course, for the Beatles), then into the RAIN SONG (given to Led Zeppelin).
Had Adorno lived a few more years, there would have been more Beatles albums containing the following songs, among others already mentioned in my first two messages:
Admiral Holsy
Live and Let Die
My Love
Imagine
What is Love
Again, raylo:
"about a yr ago at a friends party i mentioned the theory to the host who is a classically trained musician. he raised an eyebrow and said there's no way they could have written all that music in that little time. it's just not possible. someone helped, coached or wrote for them.
lyrically i believe they, especially lennon wrote a great deal even if the subject matter was impressed upon him. he was clever with words. he was no dummy, but he was no musical genius. listen to his 'rock and roll' solo album. come on people. listen to free as a bird and most of the other feeble efforts he soloed. yes i'm aware of instant karma, imagine, etc. but most of it was dribble compared to the beatles. it's like comparing basic addition with advanced trigonometry.
a few days ago after reading the first comment on this thread i called my previous mentioned friend and started naming the songlist of classical music and its corresponding beatles song. i said 'aiva' etc was yellow sub. he paused for a second, i heard a few 'da da hum daaah, DEE dah da's' and then a yup or ahuh. this was the case for every song on the list. he also stated that it was common in HWD, NY and motown, etc to have classical composers in almost every studio to smooth out the song."
PS Can anybody here guess which classical tune was copied by Adorno and transformed into OVER THE HILLS AND FAR AWAY given to Led Zeppelin?
Let us concentrate on just two songs: Martha My Dear and Kashmir.
MARTHA MY DEAR
www.icce.rug.nl/~soundscapes/DATABASES/AWP/mmd.shtmlThe original Paul had no knowledge of the Martha classical tune by von Flotow, nor could he have modified it into Martha My Dear as he could not write/read music; George Martin certainly knew about the classical tune, but he had no musical skills to turn it into Martha My Dear; after 1969 the magical orchestration in the Beatles music (see the Let It Be album) and Paul II's own albums was completely gone.
Analysis of the Martha My Dear musical notes/melody:
The intro/verse section is an extremely unusual fourteen and a half measures in length, the first of its four phrases being foreshortened by six beats; the musical equivalent of a receding chin :-) In this case, the effect is motivated by the dog-chasing-its-tail motif with which the tune opens.
Well before the true E-flat home key is established, the section veers off sharply in the direction of a possible modulation to the key of B-flat Major. Though the B-flat chord becomes clearly established by section's end as V, not I; you still might say that the tonal center of gravity is weighted deceptively more in favor of B-flat rather than E-flat.
The ninths and sevenths applied to all of the A-flat-Major chords above fall under the category of "free" dissonance.
The abrupt transition back to the home key of the verse features that root move of a major third that we discussed back in of all places, "Wild Honey Pie". Note how the second bridge embellishes this gesture with a novel "3-4-5" hook in the toppermost voice.
A clear proof that only a musical genius who could absolutely write/read music could transform the classical tune Martha into Martha My Dear.
Therefore, your assertion that Paul I could have written Martha My Dear is false.
There is no way that Paul I, not knowing at all that he would disappear from the public scene after September 1966, could have written Sgt. Pepper, Magical Mystery Tour, White Album, Abbey Road, not to mention the singles, in the timespan of just two months: July-August 1966.
Martha My Dear is a song which is written in the MUSICAL STYLE of the year 1968, it belongs to that year/age (not to 1966/1967): this style in turn in based on the musical direction/influence offerred by the Sgt. Pepper album, a fact which could not have been known to Paul I. Paul I could not possibly have anticipated the social/cultural changes brought upon by Sgt. Pepper which in turn lead to the musical style of the White Album.
Martha My Dear includes the magical orchestration which was a hallmark of the Beatles songs; whoever wrote Martha My Dear also wrote all the other songs.
No channeling was responsible for the Beatles songs (as you try to assert): it was a very methodical work, based upon careful modifications of classical tunes/songs, performed by Theodor Adorno.
Please feel free to investigate each and every Beatles song to see how incorrect the channeling notion is:
ALPHABETICAL INDEX OF ALL THE BEATLES SONGS:
www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-alphabet.shtmlKASHMIR
#" class="bbc_link" target="_blank" rel="noopener noreferrer">Listen from 0:55 to 1:06
Now listen to this:
1st movement from Korsakov's Scheherazade
#" class="bbc_link" target="_blank" rel="noopener noreferrer"> 5:05 to 5:30, especially 5:20 to 5:30
Obviously, one portion of the song is a modified version of the other, notwithstanding your earlier statements..
Each and every other Led Zeppelin song was NOT written by Jimmy Page (his supposed musical writing skills were gone after 1975, and he had none before 1968; granted he was one of the greatest guitarists ever).
Read carefully here:
www.furious.com/perfect/jimmypage.htmlCertainly the Adaggio from Spartacus was modified into the RAIN SONG.
Certainly OVER THE HILLS AND FAR AWAY is a modified Afternoon of a Faun by Debussy.
In fact, in 1970, J. Page was accused of plagiarism (Friends, a modified version of Carry On by Crosby, Stills and Nash).
Since J. Page did not write a single Led Zeppelin song, and since both Something (Beatles) and the Rain Song resemble strongly the Adaggio from Spartacus, I say that the same person wrote both songs.
George Martin did not have the genius to produce/create the magic of the Beatles music orchestration/sound.
Paul McCartney II's albums LACK completely the hallmark of what constituted the Beatles songs: that spellbound/miraculous orchestral arrangements unsurpassed to this very day and unprecedented before 1964.
There is only one person who could have done it: Theodor Adorno, his death in August 1969 is what actually put an end to the Beatles.
Paul II, John II, George were given then the remaining Beatles songs (Imagine, Live and Let Die, Admiral Holsy, Give Me Love, My Sweet Lord, Mind Games, My Love and much more) to start up their solo careers...but the magic was gone.
Your facts so far amount to this:
1. Paul dreamed up 200 songs, of which about 80 just in the period September - November 5, 1966, or, even more amazingly,
2. Paul wrote, somehow, someway, all these 200 songs; again, of which maybe 80 in that same period.
If you say that you know something about music (see for example the comments by sunssol), then it should strike you immediately, upon actually seeing how the songs were composed (see below), that a person who could not write or read music could not, even in his dreams, get such a job done, that is, to compose 200 songs with no musicological concepts whatsoever, and with no studies of classical music.
The songs themselves speak loud and clear: Paul could not have even dreamed to write such songs, given the way they are structured and written:
www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-alphabet.shtml (alphabetical order)
www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-beatles_canon.shtml (chronologically)
www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtml (step by step analysis of all the songs)
Let us have a closer look at Yesterday, for example (supposedly dreamed up by Paul):
www.icce.rug.nl/~soundscapes/DATABASES/AWP/y.shtmlHere is what A. Pollack has to say:
The overall home key is F Major but the music demonstrates a curious tendency to repeatedly veer off toward the relative minor key of d. This device subtly sets a mood for the song in which all attempts at putting on a positive face are betrayed by pervasive melancholy; shades of "beneath this mask I am wearing a frown." Interestingly, Paul had used a similar harmonic trick (actually the same basic idea but in reverse) in his very similar earlier offering of "And I Love Her".
By funny coincidence, we find here the same harmonic cross-relation between G and B-flat chords as we saw last time in "It's Only Love". Granted, the order of the two chords is reversed here, and the semantic meaning of the progression is changed by the difference in home key between the two songs. It's an uncanny parallel, nevertheless.
Let us now look at And I love Her:
Major and minor keys are said to be mutual relatives then they share the same key signature — e.g. C Major/a minor, F Major/d minor etc.
Implicit in the sharing of a key signature is the fact that they share the same chords, although each chord has a different harmonic/grammatical meaning — i.e. crudely put, a different Roman numeral — depending on which mode you're in. For example, in the pair of keys C Major/a minor, the d minor triad is common to both but it's the ii chord of C and the iv chord of A.
The ample selection of common chords in this situation makes it very easy to modulate between the two keys. Such chords are called pivot chords when they're used to effect a smooth modulation from one key to another. In terms of aural perception, one experiences such a chord initially in the old key, but within the following two chords, one retrospectively hears it as part of the new key; a kind of harmonic pun.
This amazing technical know-how of musical arrangement to come from Paul's dreams, or from a guy who could neither write nor read music?
www.icce.rug.nl/~soundscapes/DATABASES/AWP/ailh.shtmlIt's Only Love:
www.icce.rug.nl/~soundscapes/DATABASES/AWP/iol.shtmlVery much like what we saw last time in "I've Just Seen A Face", the verse here is a twelve measure section whose AAB phrasing pattern matches that of the blues even though such a connection is supported by neither the harmony nor the style.
The downward chromatic bassline at the start "forces" a strange root progression of I -» iii -» flat-VII. The effect of this is somewhat softened by the linear logic of the bassline itself and the placement of the iii chord in so-called second inversion; try playing the same progression with the iii chord in root position and see how much more strange it sounds.
With the verse ending on the vi chord (a-minor), you'd much sooner expect the first chord of this refrain to be either IV (F) or ii (d); try this out and see how well it actually works. The move to B-flat, while not at all unsatisfying does work as a surprise, and furthermore sets up a cross-relation when the next chord after it is V (G). This use of flat-VII as a subdominant is something we saw for the first time way back in "All My Loving", of all places. As a device, you might describe it as similar in structure and effect to the gambit in which V-of-V is followed by IV.
Let us remember what the Beatles could actually do, 1960 - 1962:
Beatle biographer Philip Norman writes: "Their only regular engagement was a strip club. The club owner paid them ten shillings each to strum their guitars while a stripper named Janice grimly shed her clothes before an audience of sailors, guilty businessmen and habitués with raincoat- covered laps."
Now, to go from this to actually write I want to hold your hand defies the imagination, and the fact that neither John nor Paul could write or read music, which is absolutely necessary to express any musical talent.
It is sometimes said that G. Martin orchestrated some of the Beatles songs; nothing he published after 1969 resembles in any way shape or form the actual Beatles orchestrations, for example on Strawberry Fields and Martha my Dear.
If you want to believe in a myth, go right ahead, I will not try to stop you, but the fact of the matter is that none of the Beatles could write music, it is obvious that a powerhouse in music writing was behind their success.
Listen closely to the McCartney and Lennon post Beatles albums; they are a far cry from any Beatles LP.
Please explain to me how these songs could have been written (take a look at the extraordinary skill in manipulating the keys and notes to write the songs) by two persons who could neither write nor read music.
www.icce.rug.nl/~soundscapes/VOLUME01/A_Beatles_Odyssey.shtml www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtml Imagine having Mozart, Beethoven, and Tchaikovsky, together, writing songs for you; you'd instantly become the very best musical artist the world has ever seen, and this is EXACTLY what happened to The Beatles, their songs are modified classical themes, cleverly done by T. Adorno.
The fact that their music was written by Adorno was concealed from public view.
Under the the strict guidance of EMI's recording director George Martin, and Brian Epstein, the Beatles were scrubbed, washed, and their hair styled into the Beatles cut. EMI's Martin created the Beatles in his recording studio.
Martin was a trained classical musician, and had studied the oboe and piano at the London School of Music. The Beatles could neither read music nor play any instrument other than guitar. For Martin, the Beatles musicianship was a bad joke. On their first hit record, "Love Me Do," Martin replaced Ringo on the drums with a studio musician. Martin said Ringo, "couldn't do a [drum] roll to save his life."
The insiders at EMI knew very well that J. Lennon and P. McCartney had no musical talent whatsoever; what they had abundantly was charisma, and that is what won the audience, nobody else since has been able to duplicate The Beatles phenomenon.