Here, There and Everywhere.
The Lesson explained
This is one for Susan, who recently wrote me asking for a fingerstyle lesson for this gorgeous Beatle song: Here, There and Everywhere. It's credited as being a Lennon - McCartney song, but I don't really think John had that much to do with it it; it's pure Paul. At first hearing it sounds like a very simple composition but it is in fact a very sophisticated piece of writing. The key change is pure genius and the lyrics are probably the most sweet and evocative of any love song I've ever heard.
It's in G -- our favorite -- and the original key Paul wrote it in. The verse progression seems familiar enough when it starts out:
G - Am - Bm - C. The I - ii - iii - IV chords ... couldn't get much simpler than that ... but then comes a F#m7. F#m7 isn't really in the key of C. F#m7/b5 is, but in this instance, it's acting as a sort of v chord to the next chord: B7. B7 definitely is not in the key of G. It's what I like to call a 'majorised' iii chord. So that's the first little quirk which removes it from the ordinary 'key of G' composition. That B7 then acts as a V chord to the Em that follows and we're back in the key of G again.
The verse repeats. Playing wise, there are a few little stretches and that little slide up with the pinkie at bars 8, 16 and 28. Nothing too difficult.
You might wonder why I play the Am with that added F# melody note up the neck instead of the position down near the nut. I did that because I wanted to slide into it from below. I couldn't really do that in the other position.
At the end of verse 2, instead of playing the V chord (D) an F7 appears! What a beautiful surprise. It acts as a V chord to the Bb that follows, which is the III chord of the new key we're in: G minor. So in order to get into the key of Gm, Paul has decided to use F7 in order to get to a Bb in order to get to the Gm ... pure genius. The atmosphere changes completely. We're now in a minor key, melancholy prevails, we move through the i chord (Gm), to the iv chord (Cm) to the v chord (Dm) -- all pleasantly predictable -- then again except this time we play a D7 in place of the Dm and, lo and behold, we're back in G major. It truly is as cool as it gets. And it's just one note in the melody line that gives it away. The Bb note over the Dm changes to B over the D tells us we have left minor for the major.
One last verse and we're out in a fairly straight forward way.
The Intro: Another stroke of genius. Paul primes our ears in the intro for the key change to Gm later in the tune. He does that by inserting the Bb chord into the intro.
I hope you enjoy this as much as I do, I can't stop playing it. The actual form of the song includes another key change section but I went straight to the end for this lesson. Have a listen to the original to see what I mean ... and listen to the words. Gushy and soppy as it gets, but in such a wonderful, innocent sort of way.