The History of Paul
McCartney
By Andrew Emrazian
Beginnings
• Born James Paul McCartney 18 June
1942
• Liverpool, England
An Artistic Family
• Jim played the piano
in Jim Mac’s Jazz Band
• His brother Michael recited poetry
• Paul played the trumpet, guitar, and
painted
Paul turned to Music
• His mother Mary died when he was 14 yrs. old
• Jim bought Paul a trumpet hoping he would
turn to music.
• He later traded for a guitar.
A great partnership is formed
• Paul met John Lennon at a garden fete in 1957
• John was impressed by Paul’s ‘Be-Bop-A-Lula’
& guitar tuning skills
• Paul joins the Quarry Men
at 15 yrs. old
The Beatles are formed
• The Quarry Men
• Jim bought Paul a trumpet hoping he would
turn to music.
• He later traded for a guitar.
A songwriting duo
• Over 200 of the Beatles songs are
co-written by Paul and John
• Some adored songs like ‘Yesterday’,
‘Let it Be’, and ‘Blackbird’ have been
performed by several artists
• ‘Yesterday’ has been recorded in
more than 3,000 versions
Beatlemania!
• The Beatles became a pop culture
phenomenon
• The boys style was
unconventional and
even considered
rebellious
The Beatles fall apart
• In 1967 Brian Epstein died
• The group lost direction after Epstein’s death
• John, Paul, George, and Ringo each pursued
individual opportunities
The Wings are formed
• Paul met a fellow musician
Linda at a nightclub in London
• They married in 1969
• Paul and Linda formed
‘The Wings’ and
led the group
together
The Wings are successful
• Pauls success continued with the Wings
• During the 1970’s Paul and Linda wrote
several hits that top the charts
• ‘Maybe I’m amazed’, ‘Band on the Run’ , and
‘Live and Let Die’
Exploring a variety of music
• In June 1991 Paul released a classical
movement
• The ‘ Liverpool Oratorio’, consisted
of 8 movements
• It was composed as a tribute for the
150th anniversary of an orchestra in
Liverpool
Life after Linda
• Linda, Paul’s wife of nearly 30 years
passed away in 1998
• He married Heather Mills 2002-2008
• Paul recently married Nancy Shevell
in 2011
Broadening his horizons
• In 2007, Paul released the awarded ‘classical
album of the year’
• Wrote for the ballet in New York City
• February 2012, Paul released a romantic
album ‘Kisses on the Bottom’
Presidential treatment
• In 2010, McCartney received the Gershwin
Prize at the White House with President
Obama for his contributions to pop music
Composition History
‘She Loves You’-The Beatles
• ‘She Loves You’ was recorded in July 1963
• Was recorded with crowds of girls busting
through the front doors
• Released August 1963
• Rolling Stone ranked the song as 64th greatest
of all time
‘Yesterday’The Beatles
• Paul stumbled out of bed with a
complete song in his head
• The band felt that it wasn’t a song
from a rock and roll band
• It was released a year later in August
1965
• Ranked 13th on Rolling Stone list
‘Let it Be’- The Beatles
• The song was inspired by Paul’s
mother who passed away
• Released as the The Beatles were
breaking
• Released in
March 1970
‘Live and Let Die’- Paul McCartney
& Wings
• In 1973, Paul was asked to write a song for the
new James Bond
• After reading the novel
Paul agreed
• The song was a top ten hit
‘Band on the Run’- Paul McCartney
& Wings
• Released in 1974
• The song is about the
liberation of the band
being in prison
Listening Guide
‘She Loves You’- The Beatles
0:00 - The intro is very short, less than a second. It Consists of a
couple fast drum rolls. This sets the tempo fast for the song right
from the start.
0:01 - The melody is introduced right away and really is only one
short line repeated three times, “She loves you, yeah, yeah,
yeah”. The phrase has a higher pitch probably for a tenor and has
a narrow range arch with all voices singing melody. The dynamics
are probably mezzo forte. The ensemble consists of drums, bass
guitar, lead guitar, and unison voices.
0:10 - On the last “yeah” of the melody the harmony of singing split
into a triad
‘She Loves You’- The Beatles
0:13 - The first verse begins. The percussion switches to the
cymbals maintaining the same tempo with a fast beat. Bass
guitar sounds like each measure plays a half note followed by
two quarter notes. Lead guitar almost takes back so far in the
song, strumming on a separate beat than the other
instruments. The vocals stay close in range however harmony
constantly switches between one, two, and three parts.
0:25 - The verse continues after four lines. The drums give you a
half beat to remind they’re there in the first line.
0:30 - Lead guitar comes to the forefront at the end of the line
and gives us three chords that coincide with the melody.
‘She Loves You’- The Beatles
0:37 - At the end of four more lines the lead guitar comes back
and riffs a bit to add some texture.
0:39 - Verse two begins. The music stays the same. The texture
and timbre are smooth. At some points it is hard to distinguish
parts and harmonies. The tempo has maintained the same.
1:03 - At the end of verse two all vocals harmonize into a triad
again almost like a cadence or accent to verse two.
1:04 - We return to the melody but only two lines are played.
Percussions stop hitting the cymbals for each beat. There are
two lines added to the melody that are separate from the
verses and melody. Vocals go back to singing parts and on the
last line we go back to the cymbals.
‘She Loves You’- The Beatles
1:16 - Lead guitar intro into the third verse. Sort of a Beach Boys
sounding phrase.
1:17 - Verse three sounds the same as the previous ones. Eight
short lines, vocals switching between one, two and three
parts. Form and rhythm are conjunct and tight; smooth and
consonant. The song continues to be energetic and feel good.
1:41 - Another verse ending “ooooo” in three parts. The triad
gives a unique contrast that adds a lot to the song.
1:49 -The end of the song begins with three phrases repeated.
The cymbals return, the bass guitar gives us four notes
between each phrase. On the third phrase tempo begins to
retard, then beat picks up briefly before continuing to retard.
Singing in unison til the last “yeah” which is in harmony.
‘Yesterday’- The Beatles
0:00 - Acoustic guitar intros with a moderate tempo.
0:05 - Guitar continues a constant beat and the vocal comes in.
The guitar chords usually begin with a bass note followed by a
duo of harmonic notes on each beat to make up the tempo.
First word is drawn out and sets a slower texture to the piece
of music despite the moderate tempo. The song starts out
mezzo-piano.
0:08 - The first line sounds like it’s a narrow tenor range; his
voice is soft and smooth.
0:13 - Line two vocals are descending from where the first line
left off and the guitar continues the constant beat gently.
‘Yesterday’- The Beatles
0:20 - At the end of verse one there are two half notes on
“yesterday” giving it a cadence.
0:23 - At the beginning of verse two vocals and guitar are
accompanied by string instruments (violins, cello, and or
viola). The instruments that are accompanying the guitar are
playing almost the same thing. They could be considered to
imitate however they offer a few more notes in a more
complete sound and feel.
0:40 - Could be considered the song’s chorus, just two lines.
0:53 - A form of homophony is introduced where the singer’s
voice is slightly echoed.
0:58 - Violin does an exit of four or five descending notes out of
the chorus.
‘Yesterday’- The Beatles
1:00 - Third verse begins. The three line verse is very similar to
the previous. Guitar maintains a simple beat and chords
however this verse the other string instruments give a more
complex form. They play the motes between the guitar’s
chords.
1:38 - The third verse is repeated again. The violin comes in an
octave higher and holds the note throughout the verse. The
form and rhythm are very elegant in this piece, I think,
because of the contrast of the simple tempo and texture.
1:56 - No break after the last verse. He continues straight into
the end of the song. It retards fairly quickly. The viola and
guitar take it out.
‘Let it Be’- The Beatles
0:00 - Piano intro sets the tempo slow and smooth, then a rest to
introduce the singer.
0:13 -The first verse starts with vocals, also slow and consistent.
During the verse when the vocals rest or slow, the piano picks
up the beat to keep it conjuct. Vise versa with piano to the
vocal.
0:38 - The melody is revealed for next two lines. The dynamics
change and the music softens to make way for background
“oooo” that are sung by several people.
0:53 - Verse two starts with a cymbal hi-hat.
1:04 - Bass guitar comes in to join percussion, vocal, and piano. A
background whisper can be heard in this line too. Still soft
dynamics.
‘Let it Be’- The Beatles
1:18 - Drums come in softly and drive up the dynamics.
1:31 - Drums accent at the end of the line and reintroduce the
background “ooooo”. All the parts work smoothly together to
create great rhythm.
1:47 - An interlude begins after the second verse. A keyboard
plays a descending phrase while drums decrescendo, followed
by an organ playing the same phrase with the bass guitar.
2:00 - Lead guitar solo with soft drums and piano. Solo has a
wide range and the timbre is kind of psychedelic.
2:28 - Drums change to cymbals and drums. Bass guitar, piano
and lead vocals are accompanied by background
“aaaaaawwww”.
‘Let it Be’- The Beatles
2:43 - Verse reintroduced and percussions change again. Drum
beat has little complex combos. Piano comes back to the
forefront.
2:56 - Small descending guitar solo texture, verse continues and
the song has been mezzo-forte.
3:10 - Climax of the song, crescendo into forte. All the parts
come together, drums, vocal, piano, bass guitar.
3:25 - Lead guitar takes over accompaniment to vocal melody.
3:40 - End of the verse. The descending keyboard ending quickly
retards .
‘Live and Let Die’ – Wings
0:00 - Piano and bass guitar begin the song on the same beat
with a slow tempo and harmonizing in a narrow range.
0:01 - Voice comes in a beat later. The opening line is an arch.
The piano is giving the beat to the song.
0:14 - Several background singers harmonize for a few seconds
on a steady descending contour. Lead vocal returns for next
line.
0:26 - The already slow beat retards
0:29 - The tempo almost stops leaving you waiting briefly with a
cymbal a few piano notes and the singer gives the motif of the
song.
‘Live and Let Die’ – Wings
0:33 - Some brass instruments give a small explosion several
times with the motif repeated also repeated.
0:46 - Percussion and brass speed up the beat. The dynamics
continue to be high and we are in the middle of a high energy
sequence.
0:59 - Violins come in to build tension. Percussion and flutes
strike off beat with dissonance adding tension. The brass
instruments build up to a breaking point.
1:20 - Resolution comes and the form simplifies. The tempo is
slightly lower and mood a lot lighter more with simple drum
beat bass guitar, keyboard, and a ratcheting sound.
1:31 - A sudden burst of harmonizing voices sends the song into
chaos again. Brass instruments carry melody.
‘Live and Let Die’ – Wings
1:48 - A viola and the piano introduce a slower and softer
rhythm. The lead smoothly begins repeating the first verse;
several singers softly interject for a few seconds.
2:14 - The slower rhythm retards slows to a crawl. Piano and
trombone play three notes with some chimes.
2:20 - The brass instruments burst out and build tension. The
flute sends a ascending trill.
2:33 - The tempo and beat speed up with another brass and
percussion release.
2:46 - Trumpets repeat the same phrase an octave higher as the
intensity grows into fortissimo. More brass instruments shrill.
2:56 - Sudden decrescendos as all the instruments hold the last
note.
‘Band on the Run’ – Wings
0:00 - The lead guitar starts the song several beats before the
keyboard and drums introduce a moderate tempo. The
cymbals hold the beat. The lead guitar is relaxed and slightly
disjunct. The lead guitar is electric and is a little rough in
texture not very smooth sounding. The keyboard dances
between two notes while the guitar rests like it is completing
a short thought. The melody is carried by the lead guitar for
awhile.
0:38 - The lead vocal eases into the smooth rhythm. The bass
guitar joins the vocals.
0:49 - A harmonizing triad begins as voices comes in. All parts
are still disjunct, especially the vocals.
‘Band on the Run’ – Wings
1:17 - The beat stays the same but the form and rhythm change.
The drum beat changes from mainly cymbals to mainly drums
and lead guitar is much faster than before. The keyboard,
lead, and bass guitar join to add much more energy.
1:33 - The keyboard comes in with long drawn out notes that
add a completely different thought to the conversation. Claps
are dividing each short phrase from the guitars.
1:48 - Vocals replace the keyboard and imitate the lead guitar.
There is another guitar that is sounding off in a different form.
2:02 - A voice joins in harmony, then a trombone builds up with a
few ascending measures.
2:15 - An acoustic guitar plays some transitional music solo that
sounds more free and natural.
‘Band on the Run’ – Wings
2:22 - The beat speeds up. The acoustic guitar strums match the
beat of the drums offering a more consistent rhythm. The
lead singer comes in.
2:38 - The motif of the song (“Band on the Run”) is finally
introduced and repeated several times. Each differently
stated.
3:07 - The next verse starts. The mood and the form still the
same as the last. The dynamics have been mezzo-forte.
3:13 - A guitar gives an accent of waning arch like it’s a fleeting
thought.
3:19 - The vocal’s timbre changes from smooth to making a raspy
statement.
‘Band on the Run’ – Wings
3:23 - The main thought returns with accompanying harmony.
3:46 - Only drums and acoustic guitar are playing. They acoustic
guitar plays the motif while the drums match the beat of the
acoustic guitar.
3:52 - The drums and guitar continue the thought while an
electric guitar with a completely different thought has an
echoing sound.
4:00 - Vocals return seamlessly to the main theme.
4:15 - The next verse begins. The drums and acoustic guitar
slightly change beat at the same tempo.
‘Band on the Run’ – Wings
4:39 - There’s a slight pause midline to for the singer to hold his
note and make an accent in a different way with some
cymbals to give some consistency.
4:50 - The main theme is repeated several times again with the
electric guitar making different rhythm and texture.
5:04 - The form and rhythm carry to the end with a slight
decrescendo. Lastly there are some rebellious yells at the very
end.
References
(n.d.). Retrieved 2 20, 2012, from the guardian:
http://www.guardian.co.uk/music/paulmccartney
(n.d.). Retrieved 2 18, 2012, from the biography channel:
http://www.thebiographychannel.co.uk/biographies/paul-mccartney.html
(n.d.). Retrieved 2 18, 2012, from goodreads:
http://www.goodreads.com/author/quotes/20127.Paul_McCartney
(n.d.). Retrieved 2 18, 2012, from The Beatles Bible:
http://www.beatlesbible.com/people/paul-mccartney/
ed. reve. rwevre.
Erlewine, S. T. (n.d.). Paul McCartney. Retrieved 2 18, 2012, from allmusic:
http://www.allmusic.com/artist/paul-mccartney-p4865/biography