McCartney’s Musical Deception: Part 2

In part one we looked at the art of the interrupted or “deceptive” cadence in The Beatles with the examples of I Will (1968) and Here, There and Everywhere (1966).

If you recall, an interrupted cadence involves taking the listener on a musical detour – we expect to arrive at the home key/tonic chord, but instead, the composer takes us somewhere else instead.

A Classical Example

It is device most associated with classical music. For example, in this piano sonata, we expect the third chord to be Eb major, but instead, Beethoven offers the chord of C minor. By 0:18, Beethoven has taken us to the key of G major.

McCartney also uses techniques of suprise and deflection in his songwriting.

Another Day (1971)

After The Beatles, he is quick to offer interrupted cadences, such as in Another Day (February 1971). Here, McCartney uses the more conventional V-vi interrupted cadence (the same as the Beethoven example) to move us to E minor. E minor is used to convey the empty and unfulfilled life of a female office worker. It contrasts with her restless life in G major in the verse. She now has time to sit and reflect. Can you hear the sudden change in mood at 0:50 and beyond?

When The Night (1973)

In the first two verse of When The Night, McCarney follows the chord of G major with the expected chord of C major, on the words “fell on me”.

However, in the last verse, he moves to A minor, which is another V-vi interrupted cadence. This injects a moment of unexpected drama at 2:46.

With A Little Luck (1978)

Here is another example of a V – vi interrupted cadence. However, instead of using a plain old dominant seventh chord, McCartney uses the richer harmony of B11. The interrupted cadence occurs at after the word “exploding”. Not only that, he uses the chord of vi (C# minor) as pivot chord to modulate to the new key of F# minor. Can you hear and feel the sudden change in mood, from one of joyous optimism to that of yearning expression?

Wild Life (1971)

McCartney sometimes uses interrupted cadences of a more daring nature. In the introduction to Wild Life we expect to hear the chord of C major, but instead, we are plunged into the parallel minor key at 0:07.

Tug of War (1982)

Finally, perhaps the most remarkable use an interrupted cadence occurs right at the end of Tug of War. The songs deals with the struggles inherent in the human condition.

It’s a tug of war
What with one thing and another
It’s a tug of war
We expected more
But with one thing and another
We were trying to outdo each other
In a tug of war

McCartney considers that “in another world” or “in times to come”, these issues may finally be addressed:

In another world
We could Stand on top of the mountain
With our flag unfurled

In the song’s coda, McCartney follows the chord of G major with the chord of A major at 3:52 – a more rare example of an V- VI interrupted cadence.

McCartney leaves us with a final message of hope and optimism – achieved purely through musical means. It is both profound and moving:

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