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Topic: Because

  1. #1


    On the Garritan general discussion board, there is a thread about this being the fortieth anniversary of the seminal Beatles album "Sgt. Pepper". So, I thought it might be nice to get a jump on the 40th anniversary of "Abbey Road" (which is in 2009) by transcribing "Because" and arranging it for chamber octet as a tribute (and also just for fun) .

    Because, 2:44, 3.8Mb. 100% GPO.

    It is said that John Lennon heard Yoko playing the first movement of Beethoven's "Moonlight Sonata" on the piano, and rearranged the chords more to his liking!

    Fair use, for educational purposes only.

    Moderators: please remove this thread if you believe there are any copyright issues.

  2. #2

    Re: Because

    A nice tribute. I have always like the harmonic progression of this song. I think some of the stopping of the motion of the tune was a little to obvious, but it is a nice rendition.

  3. #3

    Re: Because

    Hi Jay,

    I like the harmony as well. I'd agree that there is something of a stopping effect. Unlike the synthesized harpsichord and electric guitar on the original, acoustic harp and harpsichord just don't have the sustain needed to keep the gaps filled.

  4. #4

    Re: Because

    That's a nice sound.

    May I suggest bringing the flute up just a tad in volume because you have it playing the main melodic lead line and it is a bit buried by the other instruments?

    Good job.


    Larry G. Alexander

  5. #5

    Re: Because

    Good going, Darwin!--You couldn't have made me a happier camper than I am from hearing your Beatles tribute--THANK You!

    You did a fabulous job. Wow. Larry's point seems right to me, that the melody is a bit too much in the shadow of the harmonies, so bringing the Flute up would be a better balance.

    But I don't get the criticisms about the "stopping" at all--That's the way the song was written and performed in the original. That was perfect.

    BIG applause for you!

    Randy B.

  6. #6

    Re: Because

    Very nicely done. It's a sign that you did it right that my mind was totally expecting a piano to jump in at the end and begin playing the opening to "You Never Give Me Your Money."
    - Jamie Kowalski

    All Hands Music - Kowalski on the web
    The Ear Is Always Correct - Writings on composition

  7. #7
    Senior Member
    Join Date
    Mar 2004
    Wilton, NH

    Re: Because

    A very nice tribute. This is one of my favorite Beatles songs and I think you did a great job with your arrangement.
    Trent P. McDonald

  8. #8

    Re: Because

    Hi Larry G.,

    Thanks for checking in. I'd like to bring the flute up, but the flute's vibrato already dominates the trio texture and any more would be too much. The other GPO solo flute is so bland, I had to go with the vibrato one. Paul is the flute, John is an oboe, and George is an English (of course!) horn. I think that's about right.


    Re the flute, see my comments above to Larry. I'm glad to read you don't consider this halting. Everyone hears different aspects of a rendering, and I can usually find some common ground with their view. I mainly transcribed this yesterday just to see how it was put together. It always amazes me how well constructed their tunes were. Hopefully pop music will enter another golden age someday.


    I kept hearing the piano entrance too, but wouldn't know where to stop if I had kept it going. Many years ago, I once met a guy who could play this entire album on the piano from memory. I wonder how many LPs he wore out...


    Thanks for giving a listen. The harmony to this always intrigued me and the "Moonlight Sonata" story seemed a little farfetched. But sure enough, it's in C# minor and uses a lot of the same chords. I also like the rhythm of the arpeggios 3+3+2, gives it a kind of clave pattern.


    I CAN believe it is hard to sing. The lines are not exactly pop music 101. I believe the voices were triple-tracked to give that wall-of-sound vocal effect. I also thought of gluing the whole thing together with more reverb, but couldn't come up with the right sounding room. A sort of higher-frequency verb with a long, slow decay would do the trick without muddying it up, but none of the SIR convolutions I've collected (so far) have this characteristic. I guess it's not a natural acoustic phenomenon, as any real reverb will have more of the lower frequencies present if long trailing highs are there too. I guess I should have just taken the longest decay I could find, cut the lows, and crank the highs, but I haven't yet figured out how to return the reverb output through an eq (or two). Still learning...

  9. #9
    Senior Member LHong's Avatar
    Join Date
    May 2000
    San Jose, Ca, USA

    Re: Because

    It is an interesting arrangement within GPO instruments!



  10. #10

    Re: Because

    Lovely arrangement of this Darwin; and testimony
    to this enduring music that it so comfortably
    ensconces itself in varied furnishings.

    Nice job on this, and thanks for bringing back a
    very old and dear friend.

    My best,


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