![]() McCartney says, "I wanted to appear younger, but that was just to make it more rooty-tooty just lift the key because it was starting to sound turgid." Martin, Emerick and Richard Lush made the sped-up remix from take four on 17 April 1967. Martin remembers that McCartney suggested this change to make his voice sound younger. On 30 December, unsatisfied with all of these attempts, McCartney suggested speeding up the track to raise it by around a semitone from its original key of C major to D ♭ major. He made four new mono mixes on 29 December. Emerick later explained, "The clarinets on that track became a very personal sound for me I recorded them so far forward that they became one of the main focal points." Martin recalled, "I remember recording it in the cavernous Number One studio at Abbey Road and thinking how the three clarinet players looked as lost as a referee and two linesmen alone in the middle of Wembley Stadium." On the same day, Martin remixed the song for mono three times, although this was only a demo version. On 21 December, session musicians Robert Burns, Henry MacKenzie and Frank Reidy overdubbed two clarinets and a bass clarinet onto take four. Martin made two reduction mixes (takes three and four) with the latter best. On 20 December, McCartney, Lennon and George Harrison overdubbed backing vocals and Ringo Starr added the sound of bells. McCartney overdubbed his lead vocal onto take two without the other Beatles present on 8 December. Martin produced, supported by engineers Geoff Emerick and Phil McDonald. The Beatles recorded two takes of the song on 6 December 1966, during one of the first sessions for the as-yet-unnamed album that became Sgt. Supporting instruments include the piano, bass, drum set, tubular bells and electric guitar. In the song's final verse, the clarinet is played in descant with McCartney's vocal. During the chorus, the clarinets add texture by playing legato quarter notes while the bass clarinet plays staccato quarter notes. The bass clarinet doubles McCartney's bass for the retransitional arpeggiation of V 7 at C–1–2. One clarinet provides an alto countermelody for the third verse. Scored by Martin, he said they were added at McCartney's request to "get around the lurking schmaltz factor" by using the clarinets "in a classical way". Instrumentation Ī clarinet trio (two B ♭ clarinets and a bass clarinet) is featured prominently in the song. Pepper, appearing in the refrain ( B–2–3), in a tonicization of VI in the bridge ( B) and, as musicologist Walter Everett puts it, " the wide array of jaunty chromatic neighbors and passing tones comparable to those in McCartney's dad's 'Walking in the Park with Eloise'". The song uses applied dominants more than anywhere else on Sgt. McCartney's manuscript for the song sold for $55,700 (equivalent to US$102,000 in 2021) at Sotheby's, London in September 1994. We just stuck a few more words on it like 'grandchildren on your knee' and 'Vera, Chuck and Dave' … this was just one that was quite a hit with us." Lennon's contribution of the children's names were likely made in the studio. In 1967, John Lennon said of the song, "Paul wrote it in the Cavern days. Pepper's Lonely Hearts Club Band in December 1966 because his father, Jim McCartney, turned 64 earlier that year. Both George Martin and Lewisohn speculated that McCartney may have thought of the song when recording began for Sgt. It was in the Beatles' setlist in their early days as a song to perform when their amplifiers broke down or the electricity went off. Beatles historian Mark Lewisohn suggests it was McCartney's second composition, coming after " Call It Suicide" but before " I Lost My Little Girl". Although the theme is ageing, it was one of the first songs McCartney wrote. The song is sung by a young man to his lover, and is about his plans of their growing old together. When I was fourteen there wasn't much of a clue that it was going to happen." In 1987, McCartney recalled, "Rock and roll was about to happen that year, it was about to break, I was still a little bit cabaret minded", and in 1974, "I wrote a lot of stuff thinking I was going to end up in the cabaret, not realizing that rock and roll was particularly going to happen. Paul McCartney wrote the melody to "When I'm Sixty-Four" around the age of 14, probably at 20 Forthlin Road in April or May 1956.
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