The Beatles “Michelle“

To purchase the sheet for this song click the link below. Please consider supporting us on Patreon: “Michelle“ is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was composed principally by Paul McCartney, with the middle eight co-written with John Lennon. The song is a love ballad with part of its lyrics sung in French. Following its inclusion on Rubber Soul, the song was released as a single in some European countries and in New Zealand, and on an EP in France, in early 1966. It was a number 1 hit for the Beatles in Belgium, France, Norway, the Netherlands and New Zealand. Concurrent recordings of the song by David and Jonathan and the Overlanders were similarly successful in North America and Britain, respectively. “Michelle“ won the Grammy Award for Song of the Year in 1967 and has since become one of the most widely recorded of all Beatles songs. The instrumental music of “Michelle“ originated separately from the lyrical concept. According to McCartney: “Michelle“ was a tune that I’d written in Chet Atkins’ finger-picking style. There is a song he did called “Trambone“ with a repetitive top line, and he played a bass line while playing a melody. This was an innovation for us; even though classical guitarists had played it, no rock ’n’ roll guitarists had played it. The first person we knew to use finger-picking style was Chet Atkins ... I never learned it. But based on Atkins’ “Trambone“, I wanted to write something with a melody and a bass line in it, so I did. I just had it as an instrumental in C. The words and style of “Michelle“ have their origins in the popularity of Parisian Left Bank culture during McCartney’s Liverpool days. In his description, “it was at the time of people like Juliette Greco, the French bohemian thing.“ McCartney had gone to a party of art students where a student with a goatee and a striped T-shirt was singing a French song. He soon wrote a farcical imitation to entertain his friends that involved French-sounding groaning instead of real words. The song remained a party piece until 1965, when John Lennon suggested he rework it into a proper song for inclusion on Rubber Soul. McCartney asked Jan Vaughan, a French teacher and the wife of his old friend Ivan Vaughan, to come up with a French name and a phrase that rhymed with it. McCartney said: “It was because I’d always thought that the song sounded French that I stuck with it. I can’t speak French properly so that’s why I needed help in sorting out the actual words.“ Vaughan came up with “Michelle, ma belle“, and a few days later McCartney asked for a translation of “these are words that go together well“, rendered incorrectly as: sont les mots qui vont très bien ensemble. When McCartney played the song for Lennon, Lennon suggested the “I love you“ bridge. Lennon was inspired by a song he heard the previous evening, Nina Simone’s version of “I Put a Spell on You“, which used the same phrase but with the emphasis on the last word, “I love you“. Each version of this song has a different length. The UK mono mix is 2:33 whereas the stereo version extends to 2:40 and the US mono is 2:43. The version available in The Beatles: Rock Band has a running time of 2:50. The song was initially composed in C, but was played in F on Rubber Soul (with a capo on the fifth fret). The verse opens with an F major chord (“Michelle“ – melody note C) then the second chord (on “ma belle“ – melody note D♭) is a B♭7♯9 (on the original demo in C, the second chord is a F7♯9). McCartney called this second chord a “great ham-fisted jazz chord“ that was taught to them by Jim Gretty who worked at Hessey’s music shop in Whitechapel, central Liverpool and which George Harrison uses (as a G♭7♯9) (see Dominant seventh sharp ninth chord) as the penultimate chord of his solo on “Till There Was You“.After the E♭6 (of “these are words“) there follows an ascent involving different inversions of the D dim chord. These progress from A♭dim on “go“ – melody note F, bass note D; to Bdim (C♭dim) on “to“ – melody note A♭, bass note D; to Ddim on “ge ...“ – melody note B (C♭) bass note B; to Bdim on ... ’ther ...“ – melody note A♭ bass note B, till the dominant (V) chord (C major) is reached on “well“ – melody note G bass note C. George Martin, the Beatles’ producer, recalled that he composed the melody of the guitar solo, which is heard midway through the song and again during the fadeout. He showed Harrison the notes during the recording session and then accompanied the guitarist (on piano, out of microphone range) when the solos were overdubbed.