Published:
2023-10-28
Updated:
2023-10-28
Learning Ukulele with Curt
Ob-La-Di, Ob-La-Da
Harmonic Analysis (RMA) Worksheet for the song: "Ob-La-Di, Ob-La-Da".
Author(s): Curt Sheller Publisher: Curt Sheller Publications Code: ULHA-YB-174
Main Category: Harmonic-Analysis Main Instrument: Any
Subjects: Chords
2023-10-28
Harmonic Analysis (RMA) Worksheet for the song: "Ob-La-Di, Ob-La-Da".
Ob-La-Di, Ob-La-Da
Released: 22 November 1968
Ob-La-Di, Ob-La-Da "Ob-La-Di, Ob-La-Da" is a song by the English rock band the Beatles from their 1968 double album The Beatles (also known as "the White Album"). It was written by Paul McCartney and credited to the Lennon–McCartney partnership. Following the album's release, the song was issued as a single in many countries, although not in the United Kingdom or the United States, and topped singles charts in Australia, Japan, New Zealand, Switzerland and West Germany. When belatedly issued as a single in the United States in 1976, it peaked at number 49 on the Billboard Hot 100.
McCartney wrote "Ob-La-Di, Ob-La-Da" in a cod Jamaican ska style and appropriated a phrase popularised by Jimmy Scott, a London-based Nigerian musician, for the song's title and chorus. Following its release, Scott attempted, unsuccessfully, to receive a composing credit. The recording sessions for the track were marked by disharmony as McCartney's perfectionism tested his bandmates and their recording staff. The song was especially disliked by John Lennon, and a heated argument during one of the sessions led to Geoff Emerick quitting his job as the Beatles' recording engineer. A discarded early version of the track, featuring Scott on congas, was included on the band's 1996 compilation Anthology 3. wikiwand
Ob-La-Di, Ob-La-Da is in the The Daily Ukulele — 365 Songs for Better Living book.
Strum a different song every day with easy arrangements of 365 of your favorite songs in one big songbook! The Daily Ukulele features ukulele arrangements with melody, lyrics and uke chord grids and are in ukulele-friendly keys that are particularly suited for groups of one to one hundred to play and sing.
Ukulele Chords
These and many other chords are covered in the Learn A Chord A Day series of lessons.
C Tuning Chords
In the Daily Ukulele series of book the chords are actually listing in their order of appearance. And, are always the basic open position chords when possible.
Starting Melody Note and 1st Interval
Intervals Legend: Root=note that begins a scale of the starting key; C is C, D is D, Am is A, Em is E, etc… m=minor; M=Major; P=Perfect; D=Diminished; A=Augmented. • ↑ is up/ascending; ↓ is down/descending;
Harmonic Analysis (HA) Worksheet
Visit the Harmonic Analysis for Scale and Chord Selection series of lessons for information on creating your own Harmonic Analysis Worksheet
1.
2.
I7
(V of IV)
C Mix
1.
2.
Seems like a long song — but there is a a lot of harmonic repetition. Mostly Full Diatonic with one common Secondary Dominant
I7 (V of IV)
.
The leadsheets in the Yellow Book, as with most songs are dictated by the lyrics not the chord progression.
The Harmonic Analysis (HA)
A Harmonic Analysis (RMA/HA) and its worksheet are intended to show the function of the chords, the harmonic principles used, the keys and tonalities the song explores. And, can be used for scale selections and chord and scale substitutions.
NOTE: A Harmonic Analysis Worksheet is NOT intended to be a lead leadsheet.
Minimal roadmap information such as repeats, fine, D.S., D.C., and codas has been used in preparing the worksheets to somewhat mirror the leadsheet in the Daily Ukulele book.
Sections, Verse, Chorus, 1st, 2nd Ending, turnbacks …
The worksheets will show 1st, 2nd Ending, turnbacks, etc. as indicated in the Yellow Book
. You should start to recognize that 1st endings typically always return to a previous verse or an 
section. With a 2nd ending, a transition to a different part of the song, a 
or chorus. Harmonic Principles are used for these repeats and transitions.
If turnback chords are not indicated for these 1st and 2nd endings in the original Yellow Book leadsheet, recommended chord(s) will be indicated in parentheses or as an alternate harmony in Red . Typically the last measures or turnbacks will be a chord that resolves to and harmonically leads you to the next section or turning you back to the same section. Typically a V or direct substitution of that next chord.
Nashville Number System (NNS)
Nashville Numbering System always uses four bars/measures per line, no bar lines, and default is each number of the number of beats per bar/measure based on the time signature. If multiple chords in same bar then they are underlined. It can be as simple as converting the Roman Numerals above to Arabic numbers.
At its simplest you simply replace the roman numbers with Arabic numbers. e.g., I becomes 1 , II becomes 2 , etc. The only exception is the bVII7 chord becomes 7 as this borrowed chord from the Mixolydian tonality is so common and the VII (half-diminished seventh) in a major chord is so rare (actually never). And, you could go as far as saying all the modes are numbered: I II III IV V VI VII — just as in the major scale. So calling it a 7 is not that far out.
Check the definitive book Nashville Number System
Scale Selection
Once a Harmonic Analysis has been completed, scale selections can be made. These scale selections can be either vertical or horizontal choices. And, really, only needed if you are going to take a solo or embellish the melody with added notes.
Scale Abbreviation Legend
Traditional Scales: Maj: Major (Ionian), Nat Min: Natural Minor, Dim: Diminished, WT: Whole Tone, Har Min: Harmonic Minor
Contemporary Scales: Minor Pent: Minor Pentatonic, Pent: Major Pentatonic, Blues
Scale/Mode Names: Ion: Ionian (Major), Dor: Dorian (Minor), Phrygian: Phrygian, Lyd: Lydian, Mix: Mixolydian (Dominant), Aeol: Aeolian (Natural Minor), Loc: Locrian
Altered Scales: Mix+4: Mixolydian Plus 4 / Lydian Dominant, Mix-2-6: Mixolydian flat 2, flat 6
Checkout the Lesson Series: Harmonic Analysis for Scale and Chord Selection or download the Harmonic Analysis for Scale and Chord Selection book. And the QuickStart Series of Scale and Arpeggio books.
Performance Notes
Intro
Original key for Ob-La-Di, Ob-La-Da is B♭. Here is the piano Intro transposed for Ukulele. Works best with C TUning, Low G. The Bass is included as it so simple and cool.
The Beatles's arrangements where amazing and really set their songs up. Still fresh to this day.
Default is C Tuning, Low G
Default is C Tuning, Low or High G
Links & Resources
- wikiwand Ob-La-Di, Ob-La-Da
- The Beatles Bible: Ob-La-Di, Ob-La-Da
- Ob-La-Di, Ob-La-Da (Remastered 2009) •