I Am the Walrus
Composer(s) : Lennon and McCartney
Year : 1967
Chords/Tabs: I Am the Walrus
Notes on the "I Am The Walrus" (IATW)
KEY A Major
FORM Intro -> First Verse -> Second Verse -> Refrain ->
First Verse Variant -> Second Verse -> Refrain
Intro redux -> Refrain ->
First Verse -> Second Verse -> Refrain ->
GENERAL POINTS OF INTEREST
Style and Form
- Many times I've told you how wherever you find the Beatles at their
most far out you also find them, under the surface, operating on their
most classical instincts. So don't be fooled here: no matter what
else you may respond to in this wonderfully outrageous song, you should
acknowledge the extent to which it ultimately weighs in as a (granted,
extremely stylized and abstract) talkin' blues number. In this regard
I'm thinking not just of the patter style declamation of the words, but
also of the formal use of phrases in groups of three, and the prominent
exposure given to the V-IV-I progression, especially in context of a
song whose harmony is otherwise quite out to lunch.
- Even the two unusual formal details of this song are precedented by
surprisingly early efforts by the same composer:
- Verses that are followed by refrains are subtly different from
those which are followed by other verses. Take a look back at
"I Should Have Known Better."
- The intro reappears in the middle of the song. Look all the
way back for this to "Thank You Girl,"
which is also bears
interesting comparison to "Walrus" in terms of the pseudo
bluesy bone structure.
Melody and Harmony
- The song is ostensibly in the home key of A Major, but a number
of harmonic factors keep you off balance and give the song what
I sometimes describe as a perilously high center of gravity:
- the prominence and sense of tonal focus given to the B Major
chord (V-of-V in this context) at the beginning of the intro
and at the end of the Second Verse sections
- similarly, the sense of tonal arrival given to the E Major
chord (V in this context) at the end of the refrain
- the use of block chords moving root-wise along the scale in
all sections; especially in the outro, where its step-wise
descending chord progression and a top voice which is *ascends*
step-wise conjurs visions of an limitless expansion
- Balanced off against these forces of tonal instability you ironically
find almost equal prominence given to the very clear, very bluesy
V-IV-I chord progression as I already mentioned. The tune, when it
is not hammering away on a single pitch for rhetorically harranging
emphasis is quite prone to bluesy licks that contain flat 3rd and 7th
scale degrees; same thing for the licks played by the horns and strings.
- With, perhaps, the exception of
"All You Need Is Love," this is
the Beatles arrangement to this point in time with the largest number
of discrete, disparate elements; with signficant, complex parts for
orchestra, chorus, radio program, and other sound effects, all on
top of a basic rhythm track and vocal which themselves have been
- The overall effect of the orchestration is surreal in a manner
analogous to that of a colorized classic film. The overlay of
orchestra and chorus underscores various details of imagery in the
words and music with exaggerated gestures suggestive of some crazy
cartoon soundtrack; e.g. stumbling triplets after "see how they run,"
the glissandi behind "crying," the laughing at the choking smokers,
and the "sneiding" pigs. Glissandi, by the way, serve an almost
leitmnotific role in their constannt reapparance at different places
and in different speeds.
- The intro features the type of staggered entrances we've seen so
many times before in much more straight-laced Beatles song: with
part of the backing track to start, the strings coming in second,
and the full drum kit coming in last.
- The feel of the backbeat is subtly modulated over the course of
the song. We start off with gently rocking eighth notes (note how
the cellos mimic the lead vocal's oscillation between E and D#),
and end up with more of an abrasive quarter note march, with a brief
hiatus in the very middle of the proceedings. This breaking of this song
into two halves is less obvious than it was in
Forever" though the two songs bear an interesting comparison in this
- The radio broadcast seems to fit in uncannily, almost surprisingly
so, given its random selection. John Cage, for whom the inclusion
of such "noise" elements in his compositions was the fulfilment of
a strongly felt and persistently argued Zen-like philosophy of art
would not have been surprised, of course :-) Regardless of how unlikely
it may be that John Lennon had read Mr. Cages books, I still find this
small quote from "Silence" (p.3) quite apt to our present context:
Wherever we are, what we hear is mostly noise. When we ignore
it, it disturbs us. When we listen to it, we find it fascinating.
The sound of a truck at fifty miles per hour. Static between the
stations. Rain. We want to capture these sounds, to use them
not as sound effects but as musical instruments.
- The sparing use of the radio effect, its being saved until a full
half of the song has transpired, its continued appearance in the refrain
section that follows, and its then being held way back in the mix until
the outro demonstrate a sophisticated command of the "less is more"
- The intro is seven (and a half) measure long, and harmonically converges
to the home key from the relatively remote starting point of V-of-V:
|B |- |
A: V-of-V (4 beats in the US, and 6 beats in the UK!)
topline |D# C# F# |B A D |B C|D |
bassline|B A |G F |E |- |
|D B|C |
- I prefer to not assign Roman numerals to the chords which intervene
between V-of-V and V because I believe they are motivated by the
persuasive downward motion of bassline and upper voice in parallel 10ths,
rather than as a matter of harmonically significant root motion; yes,
BTW, there's an unusual augmented triad with G in the bass. Your
sense of home key is further obscured here by the bassline's usage
of G and F natural, neither of which belong in the key of A Major.
- In this otherwise strange musical context, you should note how the
buisiness end of this intro features a rather traditional AABB phrasing
in the melody.
- The first verse is six measures long and consists of the two phrases
of equal length. Harmonically, the section stays within the homekey
but note how the latter is established without recourse to the V chord:
|A (G) |C D |A (G) |
I flat-III IV I
|C |D |A |
flat-III IV I
- I've fretted quite a bit over how to call the harmony in the
second half of measures 1 and 3. The finished recording is
thickly ambiguous with a suggestion of blurred G Major (flat VII);
at least it sounds like there are parallel fifths along this line
in the bass.
When I listen to the instrumental outtake, though, I hear the A Major
chord sustained all the way through in spite of the bassline move to
G natural. In classical music, these G naturals in the bassline without
the chord change make for a dominant seventh chord in third inversion
(4/2) and would signal a move to the D Major or minor chord in first
inversion; clearly, the move here to C Major is unexpected in that
- The second time around, this verse is extended 5 measures; a
gesture that, if nothing else, tends to reinforce your subliminal
association of this songs with the harmonic style of the blues:
|D |- |A |
|E |D |
- The second verse is melodically similar to the first one but
but its harmony is modified significantly to transition from the
homekey to halfway toward the V chord:
|A (G) |f# F G |A (G) |
I vi flat-VI flat-VII I
|F |B |- |
- This time, I hear the chords more clearly moving in block fashion
along the scale in measure 2. Both the creepy/crawly progression
of f# minor -> F Major -> G Major -> A Major are as well as the
tritone leap from F Major to B Major are striking. Try single
that stretch of bassline if you don't believe me!
- The three measure refrain provides the ultimate arrival on V,
sounding almost more like a modulation to the key of V rather
than a half-cadence on the V chord of homekey, A Major. In
fact, I think you're starting to adjust your ears to E as the
home key here just as the chord is allowed to resolve to I at
the start of the next verse.
||3rd refrain, only
|C |D |E ||D |
flat VI of V flat VII of V V IV
- The VI-VII-I chord progression here, with respect to V, nicely
resonantes with the same one used in the second verse with respect
- The third refrain is extended one extra measure that is "unecessary"
in one sense, but which importantly sets a precedent for how the outro
will eventually grow out of the final refrain. You might even argue
that the five-measure extension to the second repeat of the First
Verse (also, with its V - IV chord progression) is an even earlier
forecaster of how the world of this song will come to its end.
- The radio interlude turns out to actually be 1 measure long, in
tempo, if you manage to count it out, though you'd never expect it
from the effect it makes.
- The fact that this whole section is essentially a reprise of the
intro is somewhat disguised by the momentary change in beat and the
manner in which we proceed partyly instrumental only and partly with
vocal added. You're also thrown off balance by the radio intrusion.
- Rather than a slavish reprise of the intro, we get a two-phrase
section based on a varied repeat of it:
|B A |G F |E |
V-of-V V7 gli-ss-an-do
|B A |G F |E F |
V-of-V V flat-VI
|B |- |
- The outro grows directly out of the final refrain with this
|E |D |C |B |
V IV flat-III V-of-V
- The chord progression of the outro itself is an harmonic moebius
strip with scales in bassline and top voice that move in contrary
top: |A |B |C |D |
bassline|A |G |F |E |
I flat-VII flat-VI V7
|E |F# |G |A ...
|D |C |B |A ...
IV9 flat-III 11 v I
- The progression repeats on its eighth move so, given a pattern of
4-measure phrases, a different chord shows up at the beginning of
every third phrase; the second repeat has G Major on the downbeat;
the third repeat has F Major, and the whole thing conveys intimations
of immortality. Beyond a point, it is the contrary motion of those
two scales that drive the chord progression here, rather than any
"harmonic" logic, per se.
- The music and chorus quickly fade to faintness on the early side; they
don't completely fade out until a few seconds before the very end, but
allowing the radio program to subtly, noisily predominate through the
final ~40 seconds.
SOME FINAL THOUGHTS
- As much as I stressed, at the beginning, how strongly grounded
this song is in certain traditional values, let me turn it around
on you here at the end.
- I think you can as easily argue that the durable strength of this
song is traceable to the fact that it is so consistently, organically
offbeat, from its very surface tension down to its soulful studs.
- The multi-layered details of the finished recording are surely to be
savored, but the song does not at all rely on them for its essential
impact. You can feel *that* in your gut just by listening to the
familiar acetate outtake on which the orchestra, chorus, and radio
are yet to make an appearance. Hell, you can sense it even on the
less familiar "take run through of just the backing track with no
guide vocal. You don't even need the words, though they sure do
- One of my teachers used the metaphor of "the whole orange" for
this kind of thing. You can cut into different parts and depths
of it, but somehow no matter where or how you do it, you find it's
all part of the same fruit.
"As duteous to the vices of thy mistress
As badness would desire." 112596#121
Copyright (c) 1996 by Alan W. Pollack
All Rights Reserved
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(c) 2019 Serge Girard