Deryk Barker wrote in response to my following statements:

>>...  I guess I am just curious about how one comes to such a standpoint.
>>I am curious to hear from someone who feels it is entirely different for
>>McCartney to borrow from or sound like someone else than it is for Bach
>>or Brahms to borrow from or sound like someone else.
>
>Because Brahms and Bach were perfectly capable of sounding like
>themselves. McCartney doesn't.

Then it has come to this; neither of us are more correct yet we stand on
completely opposite sides of the field.  This is actually a good thing
because it makes you more interesting to me being that you are a different
"thinking" person.  McCartney ABSOLUTELY has his own discernable style in
my opinion; I can hear the subtle characteristics in his melodic style and
his choice of harmonic progression is always familiar to me.  So it was,
that Deryk and Wes disagreed in concrete finality.  There is nothing more
to be gained from this thread, at least not for me.  I appreciate your
views and am glad to understand why you have them.

>>...  The list member pointed out the different musical "quotes" and
>>borrowings he heard in the work but didn't say one BAD thing about it
>>regarding this musical borrowing.  What's the big deal about finding
>>stylistic similarities between McCartney's works and others' works?
>
>Because borrowing within a larger piece is one thing, but borrowing
>your entire style is another.

Well, I tend to think of this argument is rather shaky because you are
setting your own personal limits.  Maybe borrowing a style is one thing if
used in a single piece but in a series of works, it's another.  McCartney's
style is definitely not borrowed any more than anyone else's in history is.
I would make the assumption that most great classical composers were fairly
familiar with, if not completely familiar with the works of other previous
and/or contemporary greats.  McCartney is no different.  Bach can be found
all about in Beethoven with LvB's frequent use of pedal points and his
longing for Bach's contrapuntal skill.  What was Beethoven trying to
accomplish on his deathbed? Certainly the signs of contrapuntal practice
are STILL there in his last days.  And what about Schumannesque harmonies
throughout Brahms' music.  These are stylistic traits not borrowed
fragments.  At any rate, I am done with this thread and I would like to
thank you Mr.  Barker for sharing your views with the list and especially
with me in reply.  So much to be learned from good sparring.

Wes Crone