Wolf Marshall - Best of the Beatles for Acoustic Guitar

Featured Guitars: Gtr. 1 meas. 1-30, Gtr. 2 meas. 1-30.

Slow Demos: Gtr. 1 meas. 1-4; 5-8; 23-24

1950, 1957 (Renewed) FRANK MUSIC CORP. and MEREDITH WILLSON MUSIC

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The solo is an auspicious guitar outing. Played with a pick on a nylon-string acoustic, this statement is a concise mixture of arpeggios, scale lines, and chord-melody passages that follow the songs chord changes. The opening statement of the solo is exemplary with its flowing eighth notes which outline the FF B progression. In measures 3 and 4, a chord-melody phrase utilizing minor triads and three-note clusters provides contrast. Note how the use of parallel motion enables this phrase to function first in G minor and then in B E minor with a minor-third move that is typical of jazz chord-melody style. The solo concludes with a phrase that plays off the songs chromatic progression: Am7A E m7Gm7G E 7 B 9F. The concluding passage in the solo is an ascending F7 E 9 arpeggio that pushes dramatically to the return of the bridge.

The coda contains several noteworthy harmonic points: The first is the chromatic CBC chord change in measures 25 and 26, which receives a quaint, raked articulation that is characteristic of Latin rhythm guitar styles. Another is the striking FD E 9F cadence in measures 27 and 28 . This progression borrows a D E 9 chord from the parallel minor (F minor), and is another time-honored jazz harmonic device. Till There Was You ends with a lush Fmaj7 chord.