Musical Structure
The song is in Am, with a shift to a ♭7 (Am/G) on "all" (bass note G) and a 6 (D9 (major 3rd F#)) after "love" (bass note F#) to a ♭6 (Fmaj7) on "sleeping" (bass note F). This 8-♭7-6-♭6 progression has been described as an Aeolian/Dorian hybrid. Everett notes that the change from the minor mode verse (A-B) to the parallel major for the bridge might express hope that "unrealized potential" described in the lyrics is to be "fulfilled," but that the continued minor triads (III, VI and II) "seem to express a strong dismay that love is not to be unfolded." Clapton's guitar contribution has been described as making this a "monumental" track; particularly notable features include the increasing lengths of thrice-heard first scale degrees (0.17-0.19), the restraint showed by rests in many bars then unexpected appearances (as at 0.28-0.29), commanding turnaround phrases (0.31-0.33), expressive string bends marking modal changes from C to C# (0.47-0.53), power retransition (1.21-1.24), emotive vibrato (2.01-2.07), and a solo (1.55-2.31) with a "measured rise in intensity, rhythmic activity, tonal drive and registral climb."
Read more about this topic: While My Guitar Gently Weeps
Famous quotes containing the words musical and/or structure:
“Fifty million Frenchmen can’t be wrong.”
—Anonymous. Popular saying.
Dating from World War I—when it was used by U.S. soldiers—or before, the saying was associated with nightclub hostess Texas Quinan in the 1920s. It was the title of a song recorded by Sophie Tucker in 1927, and of a Cole Porter musical in 1929.
“I really do inhabit a system in which words are capable of shaking the entire structure of government, where words can prove mightier than ten military divisions.”
—Václav Havel (b. 1936)