Song Report "Hey Jude" is a song by The Beatles and was written by Paul McCartney and John Lennon. It was first released in August 1968 under the Beatles label "Apple Records" Hey, Jude is 8 minutes and 10 seconds long The Beatles instead choose an unusual binary form that uses a fully developed song with an extended jam over a simple chord progression. This becomes clear from an examination. and a detailed study of "Hey Jude", how the two parts of the song go so well with each other and from which simple musical materials Say no to plagiarism Get a try. custom on “Why Violent Video Games Shouldn't Be Banned'?Get the original essay “Hey, Jude” is played in the key of F major and in 4/4 time. song is Pop, Rock played in a ballad style just your usual pop structure, but instead is quite different in nature for its genre, as it seems to build largely throughout the song, starting slowly and then ending with. a massive and complete release. The song relies more on the subtlety of texture than form, as throughout the song texture is also added and builds until the conclusion of the song. The first verse, like all verses, follows a simple chord progression using the chords I, V, V7, V7sus4 and IV in the key of F major which create a very memorable verse setting the tone of the song and alluding to the pop and rock genre. The vocals don't really dwell on too many unsteady notes for too long during the verses, but just convey the unsteady notes and then quickly return to the original key. The first verse is very fine in its texture, using only a piano with a single vocal melody line which sets the tone for the song playing on the ballad style where the song starts very thin with its texture then really opens up as it goes on. as the song progresses. This unique vocal line follows a very macro style structure as it doesn't really change or differ throughout the song until the release. In the second verse we hear the addition of a tambourine and acoustic rhythm guitar which also begins to hint at the poppier side of the song and begins to increase the texture and thickness of the song. There are also added backing vocals in the second half of the verse in the form of simple "ahhhh"s (TheBeatlesVEVO, 2015), again alluding to this more rock genre. It's the same as the first verse, the harmony is purely diatonic up to F major and the melody rises and falls in equal measure, leaving the listener at ease. This is interrupted at the end of this verse because a measure is added. Harmonically, to do this, the final verse chord is transformed into a V/IV allowing the chord structure to transition smoothly from the verse to the bridge. Thanks to the verse having a measure added at the end, the first phase of both bridges has five measures. thus almost copying the beginning of the verse to the bridge, making the song stable again. Harmonically, the beginning and end of both bridges are quite tonally unstable. The bridge sees the introduction of a walking bass line and drums with more emphasis on cymbal tapping, again creating a more rock feel that engages the listener. Melodically, the lead vocal tends to lag for most of the bridge, barely rising until the major melody swells that leads into the next verse. The third verse has the addition of choruses in thirds. There is also the introduction of distant choirs. The distant voice “so let it out and let it in” (TheBeatlesVEVO,.