# Music by Genre > Orchestral, Classical, Italian, Medieval, Renaissance >  "here, there and everywhere" challenge

## billkilpatrick

one of the most "classical" tunes the beatles ever performed - not saying this duo didn't do it well ... but just imagine how much more sweeter it would sound with mandolin accompaniment, in place of fiddle:  

tp://www.youtube.com/watch?v=xlcWSlUaFWY

- don't know how much time it will take (not even sure my camcorder works) but i'll have a go at this at some date ...

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## Larry S Sherman

I think you left "ht" out of your link.

Here's the video:



Larry

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## Steve-o

Don Julin has a great rendition of this classical Beatles tune on his "Lonesome Cactus Groove" album, playing mandolin in his usual mellifluous style.

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## billkilpatrick

yep' ... i left it out - thanks - bill

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## Greg Stec

Evan Marshall did a duo-style version.
The link is to the whole CD, but you'll the short sample here too.
http://www.amazon.com/Lone-Arranger-...9387369&sr=1-2

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## Amandalyn

There is also a version on Nashville Mando Orchestras album - Beatles,Bach,Bluegrass

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## Martin Jonas

Speaking of classical Beatles: there are mando orchestra arrangements at the Nakano site for Hey Jude and for Yesterday.  Haven't tried either of them yet.

Martin

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## billkilpatrick

don't know if anyone else is taking me up on this but i'm finding it very difficult

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## margora

"Speaking of classical Beatles: there are mando orchestra arrangements at the Nakano site for Hey Jude and for Yesterday. Haven't tried either of them yet."

I've done ten Beatles arrangements for the Providence Mandolin Orchestra (including most of Sgt Peppers).  We've performed several (two are up on youtube, I am the Walrus and A Day in the Life).   I've read through the two Nakano arrangements you are referring to as part of an ensemble, they are ok (I'll leave it at that) but it is more fun to do one's own.

"don't know if anyone else is taking me up on this but i'm finding it very difficult"

In general, in doing a Beatles arrangement I find it very useful to consult "The Beatles: Complete Scores" which contains more or less accurate transcriptions of the original recordings.  These are especially useful in getting the syncopations correct as well as shifting time signatures (quite common), absolutely essential, IMHO, to a successful arrangement.  I'm glancing at the transcription of "Hear, There, Everywhere" as I write this; were I to do an arrangement of this piece, I would definitely consult this source.

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## billkilpatrick

> " ... "The Beatles: Complete Scores" ... were I to do an arrangement of this piece, I would definitely consult this source.


let's have you then!

i'm working this out in "G" at the moment - advice and suggestions readily accepted.

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## Marc Woodward

Hi Bill and all, 
here's my take on it fwiw!



Cheers,
Marc

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## billkilpatrick

any questions? ... absolutely perfect.

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## man dough nollij

Sounds great, Marc. What mandolin is that?

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## Marc Woodward

Thanks! I do look bloomin' miserable though... must try smiling more (then I'd just look like an idiot with a mandolin. Come to think of it...).

The mandolin is my Andy Manson 3 point f style. Lots of pics of it during construction on his website here: http://www.andymanson.co.uk

Cheers,
Marc

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## Amandalyn

very tasteful Marc !

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## Dan Hoover

beautiful..

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## ald

Is there any style you can't play, Marc? We have a blues and jazz section, a bluegrass section... We ought to create a special section just for Marc Woodward!

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## Marc Woodward

Thanks Dan and Amandalynn!
Ald, you're being embarrasingly kind (aw shucks...)! But thanks anyway! 

I'd dearly love to be a better classical player but my sight reading falls woefully short, as I discovered when I studied with Alison Stephens for a week - I kept wanting to say 'hang on, give me a minute to work out what's happening here...' she was very kind but it was so frustrating. I kept thinking 'I can play that if I can just learn it first', lol!

There's always so much more we can all learn, which is what keeps our interest I'm sure...

I wish I could play those cool bebop style licks like Jason Anick. And then again, what about that driving Bluegrass style like Mike Compton? All so good. Sometimes I feel like a 'jack of all trades and master of none'!

Cheers,
Marc

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## billkilpatrick

a very much honed down version - sounding not classical at all:

http://www.youtube.com/watch?v=c5vl2J-Ny4M

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## Gelsenbury

I like it, Bill! It's a funky interpretation with a lot of respect for the original. That's how they should be.

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## Marc Woodward

H. T. and E. made me think of this:




Apologies for slight timing fluff in the middle when I started messin' around. I like to think of it as not just improvising with the notes - but the timing too!  :Wink:  

Marc

http://www.myspace.com/marcwoodward

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## ald

What can I say, simply beautiful!

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## Martin Jonas

I'm somewhat late to respond to Bill's challenge, but here is my interpretation of Here, There And Everywhere.  Played on two mandolins and tenor guitar: the Ajr is in the left channel, the Embergher right channel and tenor guitar in the centre and on the rhythm track.

I've played this from the sheet music in the "Beatles Complete" song book, guitar edition, which for some reason doesn't contain the instrumental intro.  The timing is surprisingly tricky: I had to make a guide track playing every quaver to get the counting right, then play the final tracks while listening to the guide track in my headphones.



Martin

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## wildpikr

Very nice, Martin.

Would anyone have a copy of the music to share?

Thanks in advance...

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## Bill Bradshaw

Hi Marc:

That is very pleasant.

Bill

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## billkilpatrick

sync was a bit out but very nice, martin - tenor guitar ... want one!

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## Martin Jonas

Thanks, Bill.  Regarding the sync, do you mean that the three melody instruments are out ouf sync with each other, or that the melody is out of sync with the rhythm track? I can't hear any significant out-of-sync between the three melody instruments -- there are a few notes where you can hear the plonk from one being a fraction out from the others, which is in the nature of recording plucked instruments played in unison.  Mandolins and guitars are much more unforgiving in this respect that (say) flutes or violins because there is such a sharp attack and little sustain.  Listening back to my recording, I am surprised to note that the tremolo of the two mandolins is actually in perfect sync -- same rate and coinciding on the beat.  I didn't pay particular attention to this when playing, but it seems my tremolo is measured rather than unmeasured.  Maybe I should take up duo style...

However, if you mean the melody is out of sync with the rhythm track, that is deliberate and is what I referred to when I said the timing is a bit tricky: at least in the transcription in the "Beatles Complete" songbook (which is the official sheet music published by Northern Songs), most of the key melody notes do not coincide with the beat but are played either an eighth note before the beat or an eighth after the beat.  Several of the sustained notes (which I tremolo on the mandolins) are four-and-a-half beats long: they start one eighth (half-a-beat) before the bar line and are then sustained through the entire subsequent measure.

The other slightly tricky thing about this tune is that there are 13(!) different chords, with a chord change every two beats, i.e. 63 chord changes in total in the 90 seconds or so of my recording.  Keeps your mind on the job, anyway.

Martin

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## billkilpatrick

problems galore ... my eldest son, the sound technician, has kindly offered to record some of my ditties but insists that i play on one track and sing on another - something i find very difficult to do.  i think there's always a stiffness in engineered recordings - whereas, a single take - with warts and all - is always fresh.

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## Martin Jonas

There certainly is some spontaneity that gets lost in multi-tracked recordings, and indeed in ensemble playing with fully-arranged parts because of the need to stay together.  On the other hand, having a backing track (or a live guitar player, for that matter), helps a lot in keeping the timing straight.  Some of that stiffness also depends on the track -- Here, There And Everywhere is rather a tightly written little tune.  I have just recorded another Beatles cover in the same way, but because the notes all fall on the beat here, playing in sync is less of an issue and as a result (I hope) it's a more relaxed take.  Here is "I Will" (very different indeed from how you recorded it for the Beatles Social Group):



Regarding the tenor guitar, I recommend you get one -- the Ozark I have was very cheap (189 Pounds including a decent hard case), has a solid top and plays like a dream.  Scale length is 20.5", so I can play tunes with mandolin fingering.

Martin

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## billkilpatrick

all we need is hair ...

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