Imagine (song) - Composition and Music

Composition and Music

Lennon composed "Imagine" one morning in early 1971, on a Steinway grand piano, in a bedroom at his Tittenhurst Park estate in Ascot, England. Ono watched as he composed the melody, chord structure and almost all the lyrics, nearly completing the song in one brief writing session. Urish and Bielen criticised the song's instrumental music as overly sentimental and melodramatic, comparing it to the music of the prerock era and describing the vocal melody as understated. Blaney described the song's melody as "apparently incomplete ... a simple motif that cries out to be developed and extended."

Lennon wrote "Imagine" in the key of C major. Its 4-bar piano introduction begins with a C chord then moves to Cmaj7 before changing to F; the 12-bar verses also follow this chord progression, with their last 4 bars moving from Am/E to Dm and Dm/C, finishing with G, G11 then G7, before resolving back to C. The 8-bar choruses progress from F to G to C, then Cmaj7 and E before ending on E7, a C chord substituted for E7 in the final bar. The 4-bar outro begins with F, then G, before resolving on C. With a duration of 3 minutes and 3 seconds and a time signature of 4/4, the song's tempo falls around 75 beats per minute.

Read more about this topic:  Imagine (song)

Famous quotes containing the words composition and, composition and/or music:

    The naive notion that a mother naturally acquires the complex skills of childrearing simply because she has given birth now seems as absurd to me as enrolling in a nine-month class in composition and imagining that at the end of the course you are now prepared to begin writing War and Peace.
    Mary Kay Blakely (20th century)

    Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.
    James Boswell (1740–1795)

    It is hard to describe the thrill of creative joy which the artist feels when the conviction seizes her that at last she has caught the very soul of the character she wishes to portray, in the music and action which reveal it.
    Maria Jeritza (1887–1982)