Editing The Beatles (section)

== Artistry ==
{{See also|Lennon–McCartney}}

=== Development ===
In ''Icons of Rock: An Encyclopedia of the Legends Who Changed Music Forever'', Scott Schinder and Andy Schwartz describe the Beatles' musical evolution:

{{blockquote|In their initial incarnation as cheerful, wisecracking moptops, the Fab Four revolutionised the sound, style, and attitude of popular music and opened rock and roll's doors to a tidal wave of British rock acts. Their initial impact would have been enough to establish the Beatles as one of their era's most influential cultural forces, but they didn't stop there. Although their initial style was a highly original, irresistibly catchy synthesis of early American rock and roll and R&B, the Beatles spent the rest of the 1960s expanding rock's stylistic frontiers, consistently staking out new musical territory on each release. The band's increasingly sophisticated experimentation encompassed a variety of genres, including [[folk-rock]], [[country music|country]], [[psychedelic music|psychedelia]], and [[baroque pop]], without sacrificing the effortless mass appeal of their early work.{{sfn|Schinder|Schwartz|2007|p=160}}}}

In ''The Beatles as Musicians'', [[Walter Everett (musicologist)|Walter Everett]] describes Lennon and McCartney's contrasting motivations and approaches to composition: "McCartney may be said to have constantly developed – as a means to entertain – a focused musical talent with an ear for counterpoint and other aspects of craft in the demonstration of a universally agreed-upon common language that he did much to enrich. Conversely, Lennon's mature music is best appreciated as the daring product of a largely unconscious, searching but undisciplined artistic sensibility."{{sfn|Everett|1999|p=9}}

Ian MacDonald describes McCartney as "a natural melodist&nbsp;– a creator of tunes capable of existing apart from their harmony". His melody lines are characterised as primarily "vertical", employing wide, [[Consonance and dissonance|consonant]] intervals which express his "extrovert energy and optimism". Conversely, Lennon's "sedentary, ironic personality" is reflected in a "horizontal" approach featuring minimal, dissonant intervals and repetitive melodies which rely on their harmonic accompaniment for interest: "Basically a realist, he instinctively kept his melodies close to the rhythms and cadences of speech, colouring his lyrics with bluesy tone and harmony rather than creating tunes that made striking shapes of their own."{{sfn|MacDonald|2005|p=12}} MacDonald praises Harrison's lead guitar work for the role his "characterful lines and textural colourings" play in supporting Lennon and McCartney's parts and describes Starr as "the father of modern pop/rock drumming".{{sfn|MacDonald|2005|pp=382–383}}

=== Influences ===
The Beatles' earliest influences include Elvis Presley, [[Carl Perkins]], [[Little Richard]], [[Chuck Berry]] and [[Gene Vincent]].{{sfn|Harry|2000a|pp=140, 660, 856–858, 881}}<ref>{{cite web |url=https://www.theguardian.com/books/2013/oct/02/beatles-tune-in-mark-lewisohn-review |title=The Beatles – All These Years: Volume One: Tune in by Mark Lewisohn – review |date=2013 |newspaper=[[The Guardian]]|access-date=4 May 2023|archive-date=4 May 2023|archive-url=https://web.archive.org/web/20230504231227/https://www.theguardian.com/books/2013/oct/02/beatles-tune-in-mark-lewisohn-review|url-status=live}}</ref> During the Beatles' co-residency with Little Richard at the [[Star-Club]] in Hamburg, from April to May 1962, he advised them on the proper technique for performing his songs.{{sfn|Harry|2000a|p=660}} Of Presley, Lennon said, "Nothing really affected me until I heard Elvis. If there hadn't been Elvis, there would not have been the Beatles."{{sfn|Harry|2000a|p=881}} Chuck Berry was particularly influential in terms of songwriting and lyrics. Lennon noted, "He was well advanced of his time lyric-wise. We all owe a lot to him."<ref>{{cite web |url=https://www.johnlennon.com/music/interviews/rolling-stone-interview-1970/ |title=The Rolling Stone Interview, December 1970. |date=1970 |newspaper=[[Rolling Stone]]|access-date=11 May 2023|archive-date=8 April 2023|archive-url=https://web.archive.org/web/20230408222419/https://www.johnlennon.com/music/interviews/rolling-stone-interview-1970/|url-status=live}}</ref> Other early influences include Buddy Holly, [[Eddie Cochran]], [[Roy Orbison]],{{sfn|Harry|2000a|pp=289, 526, 830}} [[the Everly Brothers]]{{sfn|Spitz|2005|pp=111, 123, 131, 133}} and [[Jerry Lee Lewis]].<ref>{{cite web |url=https://www.rollingstone.com/feature/john-lennon-the-last-interview-179443/ |title=John Lennon: The Last Interview |date=2010 |newspaper=[[Rolling Stone]]|access-date=4 May 2023|archive-date=24 July 2021|archive-url=https://web.archive.org/web/20210724205328/https://www.rollingstone.com/feature/john-lennon-the-last-interview-179443/|url-status=live}}</ref>

The Beatles continued to absorb influences long after their initial success, often finding new musical and lyrical avenues by listening to their contemporaries, including [[Bob Dylan]], [[Smokey Robinson and the Miracles]], [[the Who]], [[Frank Zappa]], [[the Lovin' Spoonful]], [[the Byrds]] and [[the Beach Boys]], whose 1966 album ''[[Pet Sounds]]'' amazed and inspired McCartney.{{sfn|Harry|2000a|pp=99, 217, 357, 1195}}{{sfn|Gould|2007|pp=333–335, 359}}{{sfn|Lavezzoli|2006|pp=147, 150, 162, 169}}<ref>{{cite web |url=https://www.theguardian.com/music/2004/feb/01/thebeatles.popandrock |title=Yeah! Yeah! Yeah! |date=2004 |newspaper=[[The Guardian]]|access-date=1 May 2023|archive-date=1 May 2023|archive-url=https://web.archive.org/web/20230501235518/https://www.theguardian.com/music/2004/feb/01/thebeatles.popandrock|url-status=live}}</ref><ref>{{cite news |last=Miles |first=Barry |date=November 1966 |title=A Conversation with Paul McCartney |newspaper=International Times |location=London}}</ref> Referring to the Beach Boys' creative leader, Martin later stated: "No one made a greater impact on the Beatles than Brian [Wilson]."{{sfn|Granata|2003|p=17}} Ravi Shankar, with whom Harrison studied for six weeks in India in late 1966, had a significant effect on his musical development during the band's later years.{{sfn|Lavezzoli|2006|pp=147, 165, 177}}

=== Genres ===
Originating as a skiffle group, the Beatles quickly embraced 1950s rock and roll and helped pioneer the Merseybeat genre,<ref>{{cite web |url=https://www.allmusic.com/style/merseybeat-ma0000012018/songs |title=Merseybeat – Significant Albums, Artists and Songs |publisher=AllMusic|access-date=27 August 2015|archive-url=https://web.archive.org/web/20151016041739/http://www.allmusic.com/style/merseybeat-ma0000012018/songs|archive-date=16 October 2015|url-status=live}}</ref> and their repertoire ultimately expanded to include a broad variety of pop music.{{sfn|Gould|2007|pp=30–32, 100–107}} Reflecting the range of styles they explored, Lennon said of ''Beatles for Sale'', "You could call our new one a Beatles country-and-western LP",{{sfn|Gould|2007|p=255}} while Gould credits ''Rubber Soul'' as "the instrument by which legions of folk-music enthusiasts were coaxed into the camp of pop".{{sfn|Gould|2007|p=296}}

[[File:Guitarras de McCartney y Harrison.jpg|upright=.75|thumb|A [[Höfner 500/1|Höfner "violin" bass guitar]] and [[Gretsch|Gretsch Country Gentleman guitar]], models played by McCartney and Harrison, respectively; the [[Vox AC30]] amplifier behind them is the model the Beatles used during performances in the early 1960s.|alt=Two electric guitars, a light brown violin-shaped bass and a darker brown guitar resting against a Vox amplifier]]

Although the 1965 song "Yesterday" was not the first pop record to employ orchestral strings, it marked the group's first recorded use of classical music elements. Gould observes, "The more traditional sound of strings allowed for a fresh appreciation of their talent as composers by listeners who were otherwise allergic to the din of drums and electric guitars."{{sfn|Gould|2007|p=278}} They continued to experiment with string arrangements to various effect; ''Sgt. Pepper''{{'}}s "[[She's Leaving Home]]", for instance, is "cast in the {{lang|en-US|mold}} of a sentimental Victorian ballad", Gould writes, "its words and music filled with the clichés of musical melodrama".{{sfn|Gould|2007|p=402}}

The band's stylistic range expanded in another direction with their 1966 B-side "Rain", described by [[Martin C. Strong|Martin Strong]] as "the first overtly psychedelic Beatles record".{{sfn|Strong|2004|p=108}} Other psychedelic numbers followed, such as "Tomorrow Never Knows" (recorded before "Rain"), "Strawberry Fields Forever", "[[Lucy in the Sky with Diamonds]]" and "[[I Am the Walrus]]". The influence of [[Indian classical music]] was evident in Harrison's "[[The Inner Light (song)|The Inner Light]]", "[[Love You To]]" and "[[Within You Without You]]" – Gould describes the latter two as attempts "to replicate the [[raga]] form in miniature".{{sfn|Gould|2007|pp=406, 462–463}}

Innovation was the most striking feature of their creative evolution, according to music historian and pianist Michael Campbell: <blockquote>'A Day in the Life' encapsulates the art and achievement of the Beatles as well as any single track can. It highlights key features of their music: the sound imagination, the persistence of tuneful melody and the close coordination between words and music. It represents a new category of song – more sophisticated than pop&nbsp;... and uniquely innovative. There literally had never before been a song – classical or vernacular – that had blended so many disparate elements so imaginatively.{{sfn|Campbell|2008|p=196}}</blockquote> Philosophy professor Bruce Ellis Benson agrees: "The Beatles&nbsp;... give us a wonderful example of how such far-ranging influences as Celtic music, rhythm and blues, and country and western could be put together in a new way."{{sfn|Benson|2003|p=43}}

Author Dominic Pedler describes the way they crossed musical styles: <blockquote>Far from moving sequentially from one genre to another (as is sometimes conveniently suggested) the group maintained ''in parallel'' their mastery of the traditional, catchy chart hit while simultaneously forging rock and dabbling with a wide range of peripheral influences from country to vaudeville. One of these threads was their take on folk music, which would form such essential groundwork for their later collisions with Indian music and philosophy.{{sfn|Pedler|2003|p=256}}</blockquote> As the personal relationships between the band members grew increasingly strained, their individual tastes became more apparent. The minimalistic cover artwork for the White Album contrasted with the complexity and diversity of its music, which encompassed Lennon's "[[Revolution 9]]" (whose [[musique concrète]] approach was influenced by Yoko Ono), Starr's [[country music|country]] song "[[Don't Pass Me By]]", Harrison's [[rock ballad]] "[[While My Guitar Gently Weeps]]" and the "[[Heavy metal music#Origins: late 1960s and early 1970s|proto-metal]] roar" of McCartney's "[[Helter Skelter (song)|Helter Skelter]]".<ref name="White Album AllMusic">{{cite web |last=Erlewine |first=Stephen Thomas |title=''The Beatles [White Album]'' – The Beatles |publisher=AllMusic |url=https://www.allmusic.com/album/the-beatles-white-album-mw0000418113 |access-date=21 December 2011 |archive-url=https://web.archive.org/web/20120530202730/https://www.allmusic.com/album/the-beatles-white-album-mw0000418113 |archive-date=30 May 2012 |url-status=live}}</ref>

=== Contribution of George Martin ===
[[File:Beatles and George Martin in studio 1966.JPG|thumb|alt=The Beatles with George Martin in the studio in the mid-1960s|[[George Martin]] (second from right) in the studio with the Beatles in the mid-1960s]]
[[George Martin]]'s close involvement in his role as producer made him one of the leading candidates for the informal title of the "[[fifth Beatle]]".{{sfn|Harry|2000a|p=721}} He applied his classical musical training in various ways and functioned as "an informal music teacher" to the progressing songwriters, according to Gould.{{sfn|Gould|2007|p=121, 290}} Martin suggested to a sceptical McCartney that the arrangement of "Yesterday" should feature a string quartet accompaniment, thereby introducing the Beatles to a "hitherto unsuspected world of classical instrumental colour", in MacDonald's description.{{sfn|MacDonald|2005|p=158}} Their creative development was also facilitated by Martin's willingness to experiment in response to their suggestions, such as adding "something [[baroque music|baroque]]" to a particular recording.{{sfn|Gould|2007|p=290}} In addition to scoring orchestral arrangements for recordings, Martin often performed on them, playing instruments including piano, organ and [[Brass instrument|brass]].{{sfn|Gould|2007|pp=382, 405, 409, 443, 584}}

Collaborating with Lennon and McCartney required Martin to adapt to their different approaches to songwriting and recording. MacDonald comments, "while [he] worked more naturally with the conventionally articulate McCartney, the challenge of catering to Lennon's intuitive approach generally spurred him to his more original arrangements".{{sfn|MacDonald|2005|p=238}} Martin said of the two composers' distinct songwriting styles and his stabilising influence:

{{blockquote|Compared with Paul's songs, all of which seemed to keep in some sort of touch with reality, John's had a psychedelic, almost mystical quality&nbsp;... John's imagery is one of the best things about his work&nbsp;– 'tangerine trees', 'marmalade skies', 'cellophane flowers' ...&nbsp;I always saw him as an aural [[Salvador Dalí]], rather than some drug-ridden record artist. On the other hand, I would be stupid to pretend that drugs didn't figure quite heavily in the Beatles' lives at that time&nbsp;... they knew that I, in my schoolmasterly role, didn't approve&nbsp;... Not only was I not into it myself, I couldn't see the need for it; and there's no doubt that, if I too had been on dope, ''[[Sgt. Pepper's Lonely Hearts Club Band|Pepper]]'' would never have been the album it was. Perhaps it was the combination of dope and no dope that worked, who knows?{{sfn|Martin|1979|pp=205–206}}}}

Harrison echoed Martin's description of his stabilising role: <blockquote>I think we just grew through those years together, him as the straight man and us as the loonies; but he was always there for us to interpret our madness&nbsp;– we used to be slightly avant-garde on certain days of the week, and he would be there as the anchor person, to communicate that through the engineers and on to the tape.{{sfn|Harry|2003|p=264}}</blockquote>

=== In the studio ===
{{See also|Recording practices of the Beatles}}

Making innovative use of technology while expanding the possibilities of recorded music, the Beatles urged experimentation by Martin and his recording engineers. Seeking ways to put chance occurrences to creative use, accidental guitar feedback, a resonating glass bottle, a tape loaded the wrong way round so that it played backwards – any of these might be incorporated into their music.{{sfn|Hertsgaard|1995|p=103}} Their desire to create new sounds on every new recording, combined with Martin's arranging abilities and the studio expertise of EMI staff engineers Norman Smith, [[Ken Townsend]] and Geoff Emerick, all contributed significantly to their records from ''Rubber Soul'' and, especially, ''Revolver'' onwards.{{sfn|Hertsgaard|1995|p=103}}

Along with innovative studio techniques such as [[audio signal processing|sound effects]], unconventional microphone placements, tape loops, [[double tracking]] and [[vari-speed]] recording, the Beatles augmented their songs with instruments that were unconventional in rock music at the time. These included string and brass ensembles as well as Indian instruments such as the sitar in "Norwegian Wood" and the [[swarmandal]] in "Strawberry Fields Forever".{{sfn|MacDonald|2005|p=212}} They also used novel electronic instruments such as the Mellotron, with which McCartney supplied the flute voices on the "Strawberry Fields Forever" intro,{{sfn|MacDonald|2005|p=219}} and the [[clavioline]], an electronic keyboard that created the unusual oboe-like sound on "[[Baby, You're a Rich Man]]".{{sfn|MacDonald|2005|p=259}}