Thus quoted Tim Dickinson ([log in to unmask]):

>Wes Crone wrote:
>
>>Paul McCartney had a heavy interest in classical music from even the
>>early/mid days of the Beatles.  He was very much into music of the Baroque
>>(Bach in particular).  It was with this affection for early music that
>>he used a clavichord on "Cry for No One" and Baroque sounding trumpet on
>>"Penny Lane" Other Beatles songs are accompanied by harp ("She's Leaving
>>Home") and some with harpsichord ("Fixing a Hole").
>
>The unsung hero in a lot of such arrangements was their classically trained
>producer George Martin.  I wonder if any of the above examples originated
>with him; I remember reading a list of such things that were his
>doing.

I'm not sure that penny Lane is a good example here.  McCartney had watched
a tv broadcast of a performance of one of the Brandenburg Concertos a few
days earlier and told GM he wanted that high trumpet sound.  GM brought in
David Mason (of the Philip Jones Brass Ensemble, not the guy from traffic)
and his piccolo trumpet.

Oftne 'the boys' knew what sound they wanted but not how to achieve it -
as in Lennon's famous quote that he wanted to sound like ' a Tibetan lama
calling to the faithful from a mountaintop' in Tomorrow Never Knows, so GM
hooked up his voice through a Leslie (rotating) speaker.

Not for nothing was GM known as the Fifth Beatle.

Deryk Barker
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