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For good measure, they also created a stereo mix of 'take two,' mentioned above, for inclusion in the Super Deluxe box set edition. Song Structure and Style. The structure of "Birthday" gives the impression of being a standard bar blues at first glance.

However, as Paul explained above, they decided haphazardly to proceed in different directions as they were putting the song together in the studio.

Paul's statement, "We said, 'We'll go to there for a few bars, then we'll do this for a few bars,'" becomes very apparent when the structure is examined. From here we enter into the first verse which is strictly instrumental, this verse being twelve measures in length. The elements consist of the rhythm track, which is John on lead guitar playing the lower octave riff, Paul mimicking him on bass which we also hear during the open spaces in-between the riffs and Ringo's exuberant drums.

George's lead guitar is also present, him playing the higher octave version of the riff simultaneous to what John was playing. The second verse then follows which is also twelve measures in length, the only difference between the first and the second being the addition of Paul and John's harmony lead vocals, Paul's higher Little Richard impersonation being more prominent.

The first eight measures consist entirely of Ringo on pounding drums, George on tambourine and Paul shouting out a count of the first eight measures off microphone and no, these utterances are not masked clues about My Next Birthday - The Little Rabbits - Dedalus (CD supposed death. The second eight measures of this section is Album) powerful, possibly the heaviest The Beatles have ever sounded in their career!

Both John and George play power chords on electric guitars with Ringo on drums and Paul on bass, while George's tambourine is still banging away and the hand-clapping of Ringo and Mal Evans is going at it in full force on eighth-note beats.

With the tension rising to an all time high in the fifteenth and sixteenth measures, Ringo accents the snare beats on sixteenth notes which transcend into a snare drum roll at the end of the final measure. The bridge of the song is then arrived at, this being ten measures long. With a cymbal crash from Ringo, the Album) lulls only slightly, the absence of the tambourine and hand-clapping taking the energy level down by only a notch or two.

George's lead guitar ascends and descends repeatedly throughout the first eight measures until it rises to a crescendo in the ninth measure, followed by three bending guitar chords high on his guitar neck. Next comes another instrumental verse, this being identical to the first instrumental verse but with a couple of additional elements.

These additions are heard in every even numbered measure, one being Paul's highly altered piano playing and the other being George's rapid-fire tambourine playing. Interestingly, neither of these elements are present in the odd numbered measures — only in the even numbered measures.

While the song comes to a virtual halt, both George and John play a particular guitar passage on their electric guitars, John the lower octave and George the higher octave. Paul also plays the identical riff on bass guitar, all three Beatles playing the exact same guitar riff at the same time. Ringo comes in with a snare beat and cymbal crash in measure two along with a quick tambourine shake from George and then My Next Birthday - The Little Rabbits - Dedalus (CD the same drum beats in measure four with one additional snare drum beat to take us into the following bridge.

The final verse is next heard, which is in effect a combination of the third instrumental verse with the unique piano overdub and the second verse with Paul and John's harmonized vocals. The handclapping appears here again as well, although at a slower tempo this time around, while George's rapid-fire tambourine plays straight through the entire verse.

This verse is actually fourteen measures this time, two more measures being added to bring the song to a suitable conclusion. An anticipated downbeat is accentuated by most of the instrumental elements in the twelfth, thirteenth and fourteenth measures, this last downbeat being the final Album) of the song which allows the cymbal crash and final chord to ring out. The most notable element during the fade-out is the highly effected piano chord, with Ken Scott manually switching the amplifier tone on the studio floor, which adds a distinctive touch to this elaborate piece of high-energy rock 'n' roll.

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