 2006 Course. Analysis of Strawberry Fields as interpreted by
Ben Harper.
o The focus for analysis is INTERPRETATION and how much
freedom a performer has to vary and change elements of the piece.
While this may suggest looking only at areas where there are
changes in interpretation, the sample exam provides ample
evidence that similarities are also required in 2 of the 3 questions.
Hence it is the degree of change that impacts on the final version.
Elements that could have been changed, but are left the same ( for
a reason?) or are not usually changed, can then be included in the
answer.
o For Ben Harper, the starting point for his interpretation is the
Beatles’ version. He must then decide how faithful he wishes to be
to the original. His version is obviously very respectful to the
Beatles’ version as evidenced by the many similarities.
THE STUDY DESIGN SUGGESTS WE COVER:
1. BACKGROUND/CONTEXT. The background or context the
music comes from and how this influences the interpretation.
In this case we don’t look at the historical factors influencing the
Beatles” version, we look at the Contemporary ( present day.)
Conventions. ( Unwritten rules governing current performance
styles etc. plus the influences on Ben Harper as an artist and
performer of this song.)
That is, explore how more modern factors influence/change the
interpretation. ( ie. Ben Harper’s version.)
Personal Interpretation within the restrictions of the style and
original character of the work. ( how Ben Harper’s unique
style/background is reflected in his interpretation.)
GENERAL BACKGROUND/CONTEXT.
 Ben Harper’s version was part of the soundtrack for the movie
“I am Sam.” It was released in late 2001. This freed the song
from a very personal statement by Lennon and connected it to
the movie.
 Movie Plot Outline A mentally retarded man fights for
custody of his 7-year-old daughter, and in the process teaches
his cold-hearted lawyer the value of love and family.
 Plot Synopsis: Sam Dawson has the mental capacity of a 7
year-old. He works at a Starbucks and is obsessed with the
Beatles. He has a daughter with a homeless woman; she
abandons them as soon as they leave the hospital. He names
his daughter Lucy Diamond (after the Beatles song), and
raises her. But as she reaches age 7 herself, Sam's limitations
start to become a problem at school; she's intentionally
holding back to avoid looking smarter than him. The
authorities take her away, and Sam shames high-priced lawyer
Rita Harrison into taking his case without a fee. In the process,
he teaches her a great deal about love, and whether it's really
all you need.
 Throughout the film, Penn’s character Sam is constantly
referencing the musicians and the music of the Beatles to
guide him in his experiences. With this in mind, the entire
soundtrack is comprised of top artists performing personal
renditions of classic Beatles songs. V2 Records accepted the
challenge of creating a soundtrack that captures the heart of
the movie and assembled a roster of artists that includes
Aimee Mann and Michael Penn collaborating on “Two of Us,”
Ben Harper performing “Strawberry Fields Forever,” and
Sarah McLachlan performing a stirring rendition of
“Blackbird.” Additional artists on the soundtrack include The
Black Crowes, The Wallflowers, Ben Folds, Rufus Wainright
and Sheryl Crow, among others.
 The soundtrack for Sean Penn’s 2002 film I Am Sam was not
compiled without difficulties. The film maker’s original plan
was to use Beatles’ versions of songs in the film, but it was
stonewalled by the band's strict self-imposed policy of not
licensing their music for films. Instead, the producers decided
to use new recordings of the songs by contemporary artists.
CONTEMPORARY CONVENTIONS. ( the way things are done
today/at time of recording. The norm.)

For Harper the focus was obviously the current
day/contemporary movie and the movie’s specific
requirements and restrictions. For example, the film had
originally been sequenced to match the pacing of the original
songs. So many of the new versions needed to match the
exact tempo and length ( 4 min. 4secs.) of the classic
versions. Harper’s version would work because they deleted
the Beatles’ surprise coda ( after the first fade.) and replaced it
with an elongated electric lap/slide guitar solo. This could
be cut off where the film required. There is also evidence
( covered later.) of variations in beat/pulse which may be
evidence of matching Harper’s version with already edited
footage.
 The contexts for the 2 recordings were completely
different. The live performance by Ben Harper on his
Pleasure and Pain DVD suggests that his version could
obviously be reproduced live. As a touring artist who needs
to reproduce his recorded material live, Harper ( unlike the
“retired” Beatles ) needs a version he can use at live concerts.
The Beatles’ version consisted of 2 versions spliced together
and it contained so many studio effects ( eg backwards
cymbal.) and overdubs, it was never intended to be
reproduced live. The solution was to employ arrangers to
create an authentic but playable version. ( eg mellotron
introduction played by string group and the enhanced, more
complex trumpet arrangement.)
 Ben Harper did adapt the approach to performing his version
compared to the Beatles by taking advantage of current
developments. He had access to a modern/contemporary
recording studio. Where the Beatles struggled with the
limitations of multiple overdubs with only 4 tracks, Harper
may have had access to 100 or more tracks. The result is
cleaner, more separate individual sounds.
 Another example of taking advantage of contemporary
developments in music is that Harper would not need to use a
mellotron. The exact sound can now be sampled and played
on a keyboard.
 The context for the Beatles included the Youth
Revolution/Hippy Movement. The lyrics and the music
reflected the lives they were leading, Lennon’s childhood and
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the influence of LSD. This was not the context for Ben
Harper. He does not have the personal connection to the
lyrics/song. He would see it as a cover version of a song he
admires and respects and a vehicle for his vocal acrobatics and
guitar solo prowess.
Most of the Rock and Pop conventions that governed what the
Beatles did, ( Historical Conventions/Interpretation.) still
apply today and Harper ( as a musical purest and lover of
“Roots Music.”) would have whole heartedly embraced them.
Because the Beatles version was so ahead of its time, many of
the things they did, remain unusual and unconventional to this
day. In this regard, Harper’s version still pushes the limits of
Rock and Pop conventions. ( egs. Mixed metres/time
signatures, unusual combination of instruments ( harp, brass
and string group, slide guitar, sampled mellotron sound.)
Harper follows historical and contemporary convention to
have melody mixed up as the feature.
Harper follows historical and contemporary convention to
create a rhythmic groove by combining busy parts eg vocal
and drums with smooth parts ( eg short crotchets on keyboard.
Long notes on bass )
Harper follows historical and contemporary convention by
avoiding texture clutter by doubling the string group cello part
with the electric bass. ( which unlike the Beatles plays the
whole song.) Bass doubles harp run. ( Swarmandel part in
Beatles’ version.)
Harper follows historical and contemporary convention to
avoid clutter and create space. ( see bass part in first chorus
and verse. ) Also suits laid back mood of song.
Harper ignores historical and contemporary convention to
stick to a 3 minute maximum length. (good for airplay.) Song
runs 4 minutes and 4 seconds and as explained earlier, Harper
had to go the exact same length to fit the film.
Like the Beatles he uses the studio creatively ( a convention
pioneered by the Beach Boys and the Beatles.) to do more
than one thing. He sings lead. He does his own backup
harmonies. He plays slide guitar.
PERSONAL INTERPRETATION. within the restrictions of the style
and original character of the work. ( how Ben Harper’s unique
style/background is reflected in his interpretation.)
 Background on Ben Harper. He produces music that is very
varied. ( eclectic like the Beatles.) He is influenced by Gospel
Music, Jimi Hendrix, Rhythm and Blues ( eg. Sexual
Healing.) Folk/Acoustic music, Bob Marley ( Reggae Music.)
and Blues. His Rhythm and Blues influence is strong on his
version. ( vocal improvisations.) as is his Hendrix influence
in the wild slide solo at the song’s end. ( right up to feedback
on last note.) He is somewhat of a purest and enjoys “Roots
Music.” ( authentic basing of his music on the classics from
different genres of the past. eg gospel with Blind Boys of
Alabama.)
 As a child, he started playing guitar, and began to perform
regularly as a preteen. During his adolescence, he turned
toward acoustic slide guitar, which would eventually become
his signature instrument. ( check solo at end of Strawberry
Fields. Also influenced by Hendrix ( feedback etc.)
2. How performers create meaning and expression by
interpreting / varying melody, duration, ( beat, rhythm and
metre. ) dynamics, tone colour and articulation.
For Ben Harper, the starting point for his interpretation is the
Beatles’ version. He must then decide how faithful he wishes to be to
the original. His version is obviously very respectful to the Beatles’
version as evidenced by the many similarities.
MELODY. ( includes phrasing, register, melodic motifs
and rhythmic motifs.)
 This is the area where Ben Harper makes the most
obvious changes. Ben Harper has a background in
Rhythm and Blues Music. ( eg Sexual Healing a
Marvin Gaye cover.) In this style it is a
convention ( the norm.) to improvise, so that each
performance is subtly different. This can take the
form of subtle barely noticeable variations or a
radical reworking of the whole phrase.
 Harper sings his version in virtually the same
register. ( He is in A. Beatles around Bb.)
 Harper does move into a more powerful higher
register when he improvises some of the vocal
phrases and overdubs harmony vocal lines.
 About half of the Beatles’ melody is exactly
duplicated. ( eg Start chorus coming in on beat 2.
Anticipate the 2nd bar on the and of 4. Singing
most of the verses staying on one note for eg “Noone I think is in my tree. ”Use of ¼ note triplets
on lyric “Strawberry Fields” “Nothing is real.”
Also ¼ note triplets on “No-one I think is in my
tree” )
 The most flexible aspect of melody that is
changeable is the phrasing or rhythm of the
melody. One technique Harper uses is to add a
small word to the original lyric to force a
reinvention of the rhythm/phrasing of the melody.
Egs. “and (THERE’S.) nothing to get hung
about.” Or “Living is easy with (YOUR.) eyes
closed.”
 Some of Harper’s improvisations are so subtle as
to be almost unnoticeable. An example occurs
when he elongates the syllable “GO” in “cause
I’m go-ing to.” ( These examples have transposed
the Beatles from Bb to A.)
In this example Harper changes the phrasing of the chorus from
an offbeat feel into an “on the pulse” phrase. He doesn’t change
the melody notes, only the phrasing. Most choruses he sings the
same as the Beatles.
 Some improvisations radically change the rhythm and the
melody notes. An example is the first 2 bars of the first
verse. Note the dreamy, laid back effect of the Beatles
phrasing. ( suits the lyrics/mood of song?) Harper’s is
more energetic, aggressive and busy.
 There are so many sections where Ben Harper overdubs
his own voice doing looser improvisations ( almost
polyphonic lines. Independent rhythms. Eg “is in my tree.
I mean it must be high or low.”) or harmonies strictly
aligned to the melody phrasing,( eg. “Strawberry fields
forever.”) that in the end it would be difficult to exactly
reproduce his studio version live. His live DVD leaves out
these vocal overdubs.
 In the second chorus, Harper improvises “nothing is real”
He retains the ¼ note triplet rhythm but alters the notes.
He also adds a melisma on the lyric “real.” Harper reverses
the direction of the melody from ascending to descending.
DURATION.
1. METRE/Time signatures.
 The metre is the time signature. In this song
the metre follows the words/lyrics rather than
the lyrics fitting the metre. As a result we are
in 4/4 but have occasional bars of 2/4 and ¾
( eg on “strawberry fields forever.” )
Ben Harper’s version is identical to the Beatles’
version with regard to the metre/time signatures
used. The only structural difference is the
omission of the fade and the surprise coda and the
inclusion of a repeated 4 bars of 4/4 at the end of
the song. This repeats a bass/cello/string section
riff used only once by the Beatles. Here it
functions as a structure for Ben Harper’s slide
solo.
BEAT.
 Beat is the same as pulse. As in, “Can you feel
the beat/ pulse?” The tempo is decided by the
speed of the pulse/beat. In most pop/rock
songs, the pulse/beat does not waver. It is
strong, continuous and never changing.
 Having said the above, Harper’s version begins
with the string section and the opening line of
the vocals all in strict tempo but then for some
unknown reason the opening drum fill pulls the
tempo back. Similarly the entry by Harper and
the band into “Living is easy” is late. Maybe
they were conducted and needed to line up with
the edited film? (see next point.)
 Ben Harper had to fit his version into the exact
length of the original Beatles’ version.
(originally the film makers wanted to use
Beatles versions and the film was edited around
this assumption.) Harper would have been
under pressure to duplicate the original
pulse/beat/tempo. The open ended solo at the
end allowed him some flexibility.
3. RHYTHM.
 In Ben Harper’s attempt to create a rhythmic
“groove” he needed to create parts which didn’t
clutter up the sound. Although his version uses
quite a few different instruments ( compared with
those used by the Beatles.) , he copies the way the
Beatles have combined rhythms. ( eg. most drop
out or hold long chord tones as the first vocal line
occurs.)
 They also balance more busy, syncopated parts
with repetitive, grounding, even rhythms or held
long notes. The mellotron intro. is played by the
string section and the violins play mainly
shortened crotchets sitting on the beat. They thus
function in a rhythmic role as well as a harmonic
role. This frees the cello to hold long descending
notes. The vocal is rhythmically syncopated. It
begins on the second beat, anticipates the next bar
by going across the bar line on the and of 4 and
features polyrhythmic ¼ note triplets. Harper
through his vocal improvisations creates a number
of new rhythmic phrases. ( see earlier analysis.)
 The rhythms used in Ringo’s drum fills are quite
complex and syncopated.( a foreground feature.)
Ben Harper’s drummer repeats this approach but
improvises his own fills in syncopated, 1/16 notes.
( and 1/16 note triplets.) Then, like Ringo, he
settles into a more supportive, repetitive pattern in
the bulk of the verses and chorus. ( see example
below.) The guitar arpeggios in the early choruses
are syncopated balanced by the more
rhythmically simple bass part. ( which tends to
play long notes.)
Unlike the Beatles the bass doesn’t drop out to be
replaced by the cellos. Here bass plays the whole
song. When the strings join the bass part in
unison, the bass part it is more of a feature and it
is quite rhythmically busy. Because it is doubling
the strings it doesn’t create clutter. (As is the
situation where the bass plays/doubles the Beatles’
swarmandel run with the harp.)
 Rhythmic Patterns or motifs.
Many of these examples are the same in both
versions. The drum pattern features a standard
snare, bass drum and hi hat pattern which is often
repeated or subtly varied.
 The maracas reinforce the snare backbeat on
2 and 4.
 The ¼ note triplet pattern in the melody ( eg
“nothing is real”) reoccurs through the vocal
line. It’s a polyrhythm ( 3 over 2.)
 The rhythm of the guitar arpeggio is later
restated by the 4 trumpets.
DYNAMICS.
Ben Harper’s version has very similar individual dynamics to
the Beatles’ version. This is because both artists follow similar
rock conventions when it comes to balance/mix/dynamics. If
anything, the Beatles have a more subtle and varied dynamic
blend which adds to the dreamy, distant, mellow feeling inspired
by the lyrics. For eg. The section leading up to the first fade has
very distant, mysterious sitar and sudden loud features like 2
bars of electric guitar or a loud cello trill. The string/cello/bass
line used by Ben Harper as a supporting riff for his solo is not as
prominent and “in your face” in the Beatles version.
The final dynamic levels are determined by the recording
engineer. ( in consultation with the artist.)
 As the vocal is to be the loudest ( f. ) and the most
prominent, other instruments can be mixed to a louder
( f ) dynamic when NOT competing with the vocal. ( eg.
Drum fills in between vocal phrases.) ( same in both.)
 Intro mf ( moderately loud.) string group. ( same in both.)
 Drums fills a feature. Mixed up to loud. ( f.) ( same in
both.)
 Slide guitar is mixed up to f in Beatles version but more
subtle mf in Harper’s.
 Mellotron/Keyboard with sampled mellotron sound, plays
at around mf and is more audible when other instruments
drop out.. ( same in both.)
 Voice mixed up (f.) ( same in both.)
 Wall of sound providing harmony/chords mixed back a
little.( mellotron/keyboard , bass, drums playing repetitive
pattern harp ( Ben Harper only.) and guitars.) mf. ( same
in both.)
 More a case of varying the dynamics through adding and
subtracting instruments. ( same in both.)
 Cellos/String Group mixed up to f. to join/replace bass.
( same in both.)
 4 trumpets mf. in verse 2. No need to mix up as all
instruments drop out. ( same in both.)
 Swarmandel at f. for Beatles. Replaced by harp and bass
in unison ( at f ) in Ben Harper’s version. ( same in both.)
 Lap Steel Slide guitar solo at end is at ff as it is the main
feature.
TONE COLOUR/TIMBRE.
The blend of tone colours obviously depends on what
instruments are used.
THE BEATLES.
 The Beatles created tone colours in their final arrangement
that were far removed from Lennon’s initial demo.
Version.
 They used standard rock instruments in traditional and non
traditional ways (eg. Cymbal played backwards.) and
added exotic and unexpected instruments. eg
Mellotron/cutting edge technology at the time, 4 trumpets
used sparingly, 4 cellos,( take over bass part for second
chorus.) slide guitar ( used 3 or 4 times for one bar.)
Swarmandel ( sitar like stringed instrument.) and sitar.
 the dreamy, druggy, L.S.D influenced lyrics suggested
unexpected changes in instrument tone colour to create a
sound picture to match the lyrics as the collage of images
ebb and flow.
 Reverb and echo play a large part in the final tone colours.
There is heavy echo on the voice to make it sound
mysterious and distant. Echo on guitar and drums.
 The many overdubs appear as a shimmering texture mixed
into the background.
 Echo on maracas.
 Nasal, whiney sound of vocals cuts through the backing.
BEN HARPER.
 Didn’t use tom/percussion overdub so his version doesn’t
have a primitive, tribal sound.
 This wild tone colour is replaced by Harper’s Jimi Hendrix
influenced guitar solo at the end of the song. He uses
overdrive, distortion and wah pedal on his lap steel slide
guitar.
 Uses a string group rather than 4 cellos so tone colour is
more varied and not as bottom end/bassy orientated as the
Beatles.
 Uses modern studio with unlimited tracks. Beatles had 4
tracks. The result is better separation of instruments and a
resulting cleaner sound. What may be lost is the
mysterious tone colour generated by multiple Beatle
overdubs?
 Harper’s voice is different to Lennon’s cutting nasal lead
vocal. Harper has more vibrato in the lighter sections and
more Rhythm and Blues rasp and power in the higher
improvised sections.
 The harp replaces the swarmandel and there is no sitar.
This removes the exotic, Indian, spiritual reference. The
harp plays in the verses and provides a shimmering
quality.
 The keyboard provides a sampled mellotron sound
virtually identical to original instrument.
 The 4 bar riff played as a backing to Harper’s solo on
guitar is now played by bass and the whole string section.
This is a much thicker, ( played in octaves?) more
powerful and electric sound than the Beatles’ 4 cellos.
 Harper doesn’t use studio tricks to play cymbals
backwards or tape reverse on keyboard. This eliminates
some other worldly, mysterious unexpected tone colours.
ARTICULATION.
 Because of the druggy/dreamy subject matter, Ben
Harper uses alight vibrato on the softer sections
of the song. Like Lennon, he tends to sing in a
legato style giving full value to notes.
( articulation.)This effect is heightened by the
use of reverb and echo.
 The string group violins and violas in the intro
keep most chords short to create space for other
instruments.( articulation.) While the cello holds
long descending notes.( legato.)
 It’s a rock convention for bass players to palm
mute their strings to keep notes from ringing too
long. Also the bass decays naturally on the long
notes. ( articulation.)
 The tom toms and the bass and snare are all
deadened to keep kit from ringing too long and
create a “Punchy” sound. ( articulation.)
 Ben Harper slurs the melismas that he copies from
the original or improvises. Eg. He sings “It
doesn’t matter much to me-e-ee.” The last word is
a melisma added by Harper and slurred.
 Ben Harper’s lap steel solo features a number of
slurs as he slides up and down the strings using a
metal slide on his finger. Slurring is what slide
guitar is all about.
 Harper also achieves vibrato in his solo by
rapidly moving the slide over one note or chord.
3. Characteristics of instruments.
The role of
instruments. The way instruments are combined.
(texture and rhythmic “groove.”)
Ben Harper’s version is very similar to the Beatles in its
arrangement of instruments. The vocals are the most obvious
difference.
SIMILARITIES.
 Both combine the standard Rock guitar-bass-drums
backing. These instruments fulfil their normal Rock role.
Bass spells out harmony, works rhythmically with drums
and guitar and provides bottom end tones. Drums provide
rhythm and are a feature doing fills in between the vocal
lines. The guitars however play arpeggios to keep the
texture from becoming to thick and heavy. ( Lennon did
not want the song to be too heavy.)
 Both also include a mellotron sound, ( provides
mysterious intro. and transparent sparse tone colour as it
spells out the harmony. Most sections involve holding
long notes using only 2 notes from the chord. This is to
avoid bass end clutter with the cellos and bass guitar.
 Both use slide guitar very sparingly to slide us into the
chorus. ( the world of Strawberry Fields.)
 Both use the brass section in a similar way. Trumpets are
used to play long chord tones ( eg in verse 2 “No one I
think is in my tree.”) but also used for syncopated stabs
( providing rhythmic excitement.) later in the song.
 Both have a Bass part which is not rhythmically busy
( plays lots of long notes.) allowing room for drums and
busy syncopated vocal to feature. Creates rhythmic
groove.
DIFFERENCES.
 In Harper’s version, bass doubles the swarmandel run
down which in Harper’s version is played on harp.
( role ? Here the bass and harp act as a featured fill.)
 In Harper’s version the harp plays continuously
adding a shimmering tone to the other chord/harmony
instruments. Harp also does some fills which are mixed
up.
 In Harper’s version, bass doesn’t stop playing to allow
cellos to take over ( like in Beatles.) The result is a
thickening of the bottom end. Doubling avoids clutter.)
 In Harper’s version there is no sitar at the end.
Replaced by lap steel slide solo.
 In Harper’s version there are fewer instruments
overdubbed so there is a cleaner texture.
4. Characteristics of the piece that have meaning or
contribute to expressiveness.
 Harper creates a version that manages to showcase his musical
strengths ( improvised rhythm and blues vocals and electric lap
steel slide solo )
 He also maintains the essence of the original.
 He creates a new version that expresses different connections to
the original. It is linked to the film and Harper’s style rather
than Lennon’s very esoteric childhood memories mixed with
LSD experiences.
 The weirdness/other worldly quality of the original is translated
into a frantic aggressive guitar solo.
 Blending of genres/styles ( rock, psychedelic, Hendrix,
classical/orchestral, avant garde, pop, rhythm and blues.)
 Arrangements of trumpets and cellos retain the best of
the Beatles’ arrangement but are extended into subtle
new areas. ( eg cello plays one part, violins and violas
play a separate part or double up an octave. Trumpets
double up an octave and play additional runs.)
5. SIMILARITIES AND DIFFERENCES.
This heading seems to overlap with almost all the previous
headings.
These have been amply covered in the rest of the analysis.
Students need to be able to discuss similarities and differences
in the following areas:
 Melody
 Duration.( Metre, Rhythm and Beat/Pulse.)
 Dynamics
 Tone colour
 Articulation
 Characteristics of instruments
 Role of instruments
 Way instruments combine.
 Characteristics that have meaning or contribute to
expressiveness
 Background or contextual issues that influence
performance ( Historical interpretation Contemporary
Conventions and Personal Interpretation.)
DON KERBY BALLARAT HIGH SCHOOL. 1/7/06.