"Setting Yourself Up"

In the lines "No one's going to laugh / If you walk out on her" in "Setting Yourself Up," "walk" is sung with a melisma (I think it's B C B A G), musically giving a sense of movement.

"Keep the Curtains Closed Today"

I listened to Colin Blunstone's Journey yester-day and noticed a couple small features.

In "Keep the Curtains Closed Today," "while" in the line "This is our first day for quite a while" is sung with a melisma (D C# A), musically giving a sense either of duration or of degree (for "quite").

"Away" in the line "The future always seems so far away" is sung with the same melisma.  Here, it provides a sense of distance.

I also referenced the version on The Ghost of You and Me (slightly retitled to "Let's Keep the Curtains Closed Today") and discovered that it's a whole tone lower (G major rather than A major).  These words are sung with melismas there too, but they're slightly different, notwithstanding the lower key.  "While" is sung to the notes A G, and "away" is sung to the notes B A G.

"Together"

A little over a year ago, I wrote a post about the bridge in "Together":

And I've come to

Need you like flowers need the rain

Have to love you

As much as seasons have to change in time

I'd noticed that in contrast to the quick note values of most of the section, each word in the phrase "change in time" is held for a full measure and that this prolonging of note values mirrors the "change" there.

Yester-day, I realized that the words themselves illustrate this change too.  In both rhyme and syllable count, the line "Need you like flowers need the rain" complements the line "As much as seasons have to change in time" up until the first half of "change."  The second half of "change" and the phrase "in time" create structural differences between these two lines.  Instead of a pure rhyme, there's merely assonance between "rain" and "change," and the lines have unequal numbers of syllables.  These structural differences illustrate that "change" in a poetic manner.

"Woman"

I recently re-learned the bass part for "Woman" (I'm in the midst of notating it) and found an old post on this blog where I'd written down the guitar and organ phrases (albeit just with note letters and I misidentified the organ as electric piano).  A couple days ago, I realized that since the guitar and organ play the same two-bar phrase, just starting at different points, they form a very simple canon:

My notation shows just four measures, but obviously, these phrases continue.

"You Make Me Feel Good"

I've been reviewing some of the early Decca era songs recently, and this evening I played through "You Make Me Feel Good."  I realized that the song contains only major chords:  E major, G# major, A major, and B major.  Because there isn't any of the "sadness" of minor chords, there's something of a sense of that "feel[ing] good."