Musical Structure
The song (probably based on a longer piece by Ravi Shankar) is mostly in Mixolydian mode or rather Khamaj thaat, its equivalent in Indian music.
The song, in the tonic (I) key of C#, is structured around an exotic Mixolydian melody over a constant G 'root-fifth' drone that is neither obviously major nor minor. It opens with a very short alap played by the tambouras (0:00-0:04), then dilruba (from 0:04) while a swarmandal is gently stroked to announce the pentatonic portion of the scale. A tabla then begins (at 0:23) playing a 16-beat tintal in a Madhya laya (medium tempo) and the dilruba plaintively backs the opening line of the verse (Bandish) or gat: "We were talking about the space between us all." The opening words "We were talking" are sung to an E-F-G-B♭ melody tritone interval (E to B♭) that enhances the spiritual dissonance sought to be evoked. Soon an 11-piece string section plays a series of unusual slides to match the Indian music idiom where the melody is often "played legato rounded in microtones, rather than staccato as in Western music." The instrumental after the second verse and chorus involves the tabla switching from the 16 beat tintal to a 10 beat jhaptal cycle. As a pointed counterpoint to the verse echoes of ancient Vedantic philosophy ("wall of illusion" "When you've seen beyond yourself, then you may find peace of mind is waiting there") a sawal-jawab (musical dialogue) begins in 5/4 time between first the dilruba and Harrison's sitar, then between the full Western string section and Harrison's sitar, this tellingly resolving into a melody in unison and together stating the tihai that closes the middle segment. After this, the drone is again prominent and the swarmandal plays an ascending scale, followed by a lone cello in descending scale that leads to the final verse in 16-beat tintal ("And the time will come when you see we're all one, and life flows on within you and without you") ending with the notes of the dilruba left hanging, until the tonal and spiritual tension is relieved by a muted use of canned laughter.
Pollack considers that there two likely interpretations of the use of canned laughter. The first is that the presumably xenophobic Victorian/Edwardian-era audience implicit in the Sgt. Pepper band and concert concept "is letting off a little tension of this perceived confrontation with pagan elements." The second holds that the composer is engaging in "an endearingly sincere nanosecond of acknowledgement of the apparent existential absurdity of the son-of-a-Liverpudlian bus driver espousing such other-wordly beliefs and sentiments".
Read more about this topic: Within You Without You
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