How to Sing I’ll Get You Beatles Cover Vocal Harmony Breakdown

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=-PLEASE_SHARE_-Learn how to sing I’ll Get You vocal harmony breakdown by The Beatles. Video harmonies tutorial lesson by Galeazzo Frudua on I’ll Get You Beatles harmonies breakdown. Enjoy!

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41 thoughts on “How to Sing I’ll Get You Beatles Cover Vocal Harmony Breakdown”

  1. In addition to giving us the right notes, you’re adding many great insights
    on the vocal execution. I’d also be curious in your insights on the actual
    composition of these parts – and this would be a way you could do new
    videos without any new preparation or filming. In other words, use the same
    audio/video but give us an analysis of the harmonization from the
    arranger’s point of view – when to double, when to use contrary motion,
    when and why it works to use that open 4th & 5th thing the Beatles use so
    well, etc. The thing that got me thinking about this is the middle 8 of
    this one – “well there’s gonna be a time” – on “well” John & Paul sing
    octave Bs while George sings an A – so by itself it sounds wrong – it
    sounds like George should hit a G – but with the chords it sounds brilliant
    because it’s still a D at that moment, making it a D6 (and they were really
    into 6th chords at that point – like the end of She Loves You). So I’d like
    to hear your thoughts on the trade-off between making an arrangement that
    sounds perfect a cappella and making it sound perfect against the overall
    harmony of the backing track. Also that middle 8 sounds like it had a
    tremendous influence on The Eagles several years later.

    Or … “to pretend” in 4ths! It’s sounds so odd by itself and yet so great
    with the guitar but it does the same 6th thing against the D chord.

  2. There are almost no “throwaway” songs by the Beatles. Even as a kid 40
    years ago, I was transported by the harmony on “I–m” in “I’m in love with
    you.” I’m not sure why that chord in particular, but you manage to nail it.
    Also: I had no idea John sang the his parts quite as low as this. As
    always, an eye-opener. Thanks again.

  3. Adrian Cervantes Lomeli

    Excellent, what’s hap with the intro of With a little help from my friends,
    and Money (that’s what I want)

  4. My request is that you do the rest of The Beatles catalogue 😉

    This song was never even on my radar until now … can’t wait to try it!

  5. Thank you so much! I really wanted to know how to sing this song. I
    recently recorded myself attempting to sing harmony with this song, but
    apparently I was wrong. I’m very impressed with how you can figure these
    harmonies out. 

  6. James Abhilash

    Hello Frudua, Love your videos sir. Please keep the great work coming.
    Could you suggest the best way, a good tip if you will, to sing harmonies
    and not get tripped by the other voices in the harmony? Although I have
    gotten better with time at doing this, I still find that I am greatly
    influenced by the melody and the other parts of the harmony while singing
    my part.
    What would be your best recommendation to get over this (apart from
    practice, of course 🙂 )

  7. Janina Kowalska

    You have great voice so watching your job is really satisfying. Can’t wait
    to see your I’m amazed tutorial :)

  8. Hakan Karakurt

    Could you please make a video for California Dreamin’ by MAMAS and

  9. Are you going to release a video of Maybe I’m Amazed? You sound totally
    awesome singing that one!

  10. I’ll Get You is one of my all time favorites. It is just so uplifting and
    positive. The harmonies are wonderful. Now once again you have allowed me
    to put the three voices together and see the end result. I absolutely love
    it. Those 3 voices. I remember when I was a kid one of my neighbors was
    about 35 years old when I was about 13, She would listen to their records
    with me and I remember her fawning over their harmonies. Their harmonies,
    their voices, fit each other like a glove. Thanks for showing me this one.

  11. Paul Lukitsch

    I love these latest videos Galeazzo, they are top drawer and always right
    on— like all your videos.

    However, speaking as an immense Beatles fan, I have to admit I very much
    miss the little commentaries you used to do—whether describing a particular
    quality that Paul and John had when they facing sang close harmony with
    each other (as we one discussed in I Saw Her Standing There, and also
    Baby’s in Black). Given your experience listening to the Beatles and your
    knowledge of how certain recordings were done, were parts of your videos I
    looked forward to as much as the vocal breakdown.

    For example, in your recent Free as a Bird video, I had hoped you might
    have made a comment on the way the harmonies were structured…to me, and
    because Paul is obviously doing the arranging here, it sounds uncannily
    like where the Beatles last ended, i.e., the second side of Abbey Road. It
    feels like those 6 part harmonies in FAAB were closely related (and maybe
    even slightly progressed) from the harmonies in Because, and the backing
    vocals in Sun King, and She Came In Through The Bathroom Window.

    Anyway, as a Beatles fan who loves to take apart their songs and figure out
    what makes them so special, I really miss your verbal analysis or anecdotal
    info you might happen to know. I realize you are probably getting busier as
    your talents become more in demand, but for any other videos (and I realize
    there aren’t too many left), please share with us a little about what you
    think is special about the song!

    But, as always, thank you for your work and these videos…I have been
    subscribed for at least 3 years and have always looked forward to anything
    you upload.

  12. I have thought many times how the spoken voices between brothers and even
    between close friends tend to mimic. When together, the pitches align and
    an external observer (in case of an indistinguishable differentiation from
    the perspective of the close friends) may point out that the spoken voices
    sound alike.
    With this simple song, I realize how thrilling is to perceive identical two
    singing voice frequencies that outside this song, have each their own
    potenze, range and peculiarities, but inside this song, melt into a unity.
    A straight line through the verse but, eventually, splitting to complement
    each other, but in a different way. And after that, camouflage again.
    This is just the counterpart of the spoken voice similarity: between
    brothers and even between close friends, the singing voices tend to mimic.
    This mimicry has not to be shown necessarily every time or at every song:
    due that, in singing, one is compelled to look for their own style,
    probably one may want to avoid mimicry (losing identity as a separate one)
    with another voice. But in the case this option (as in I’ll Get You) is
    taken as a wish-to-mimic, the sonority’s domain will give us (as a gift) an
    indistinguishable unit.
    After all they were friends, and they were playing with their voices and
    instruments. They preserved and persist the disposition to play.
    Every man who’s been so fortunate to become the friend of a friend knows
    the joviality and camaraderie of mimicry.

  13. Galeazzo, would you consider presenting Crosby, Stills and Nash’s “Carry
    On/Questions”? Their harmonies are so intricate, I know you’d be able to
    present the parts clearly and correctly. Thanks

  14. Brilliant. When did the Beatles actually practice the intricate vocals for
    each of these songs? Was it a separate practice before tours? Before the
    studio? In the studio? I imagine they worked out the basic music for each
    song, then came back and did a cappella vocal practice? Also, did each
    Beatle have a say in creating their own back up vocal parts, or did Paul
    write the song and teach John and George their parts that HE created? I’ve
    always wondered

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