"Hi Lili, Hi Lo"

In the line "A song of love is such a sad song" in "Hi Lili, Hi Lo," the "sad" is sung with a melisma (E D), musically giving a sense of degree (for "such").

"Since I Don't Have You"

It's a bit difficult to tell because it occurs during the fade out, but I think the last line of "Since I Don't Have You" is "Because you know that since I don't have you, I'm so blue."  The "so" here is sung with a melisma (G F), musically giving a sense of degree.

"Untie Me"

In the line "And you don't want me anymore" in "Untie Me," the "-more" of "anymore" is sung with a melisma (B A G A B, I think), so while it's negated ("not... anymore"), there's a musical sense of continuation.

While referencing the recording in order to write this post, I also noticed that "ago" in the line "Not too long ago, you said you'd love me to the end" is also sung with a melisma (D F# E).  While this is also negated, that articulation gives a sense of duration or perhaps even degree (for that "too").

"It's Gonna Work out Fine"

I found some old notes that I neglected to include when I made my initial posts.

In the "so fine" at the end of "It's Gonna Work out Fine," the "fine" is sung with a melisma (C Bb A), musically giving a sense of degree (for that "so").

"My Name Is Jack"

I recently listened to Live at the BBC 66-69, and while I hadn't intended either to figure out parts for or write about those songs yet, I figured out the alto recorder phrase at the beginning of "My Name Is Jack" and here I am writing about it.

I should note that I did reference the studio recording (I found an official upload on YouTube) and confirmed that what I noticed in the BBC version is also true for that.

Here's the alto recorder phrase:

After figuring it out and playing it about a dozen times, I thought it sounded vaguely familiar.  Eventually, I realized that it has some resemblance to "Westminster Quarters," which is often used as a clock chime.  I think slightly different versions exist, but it's something like:

The first measure is played at a quarter past the hour, the first and second measures are played at half past, and so on.  At the top of the hour, the whole thing is played, followed by a single note (D in this key) played as many times as what hour it is (once for one o'clock, twice for two o'clock, and so on).

The alto recorder phrase in "My Name Is Jack" contains all of the same notes (plus a G); like "Westminster Quarters," it's fairly conjunct aside from dropping down to A; and the first measure of the phrase in "My Name Is Jack" matches the second measure in "Westminster Quarters" exactly.

I'm not sure if this similarity is intentional or whether it has any significance, but the two tunes do have a certain resemblance.

"Blinded by the Light"

Beginning at ~4:45 in "Blinded by the Light," there's a quotation (or at least a near quotation) of "Chopsticks."

"Quit Your Low Down Ways"

In the line "You can try to flag a ride, but you can't ride in my car no more" in "Quit Your Low Down Ways," the "more" is sung with a melisma (C Bb G), musically illustrating that (negated) continuation.

"I'll Make It up to You"

In "I'll Make It up to You," the "every"s in the lines "That in every way" and "In each and every way" are sung with three syllables, musically giving a sense of number, and the "way" in "That in every way" is sung with a melisma (G D E), giving a sense of amount.

"The Way You Do the Things You Do"

In "The Way You Do the Things You Do," "bright" in the line "You got a smile so bright" and "rich" in the line "You made my life so rich" are both sung with a melisma (B B), musically giving a sense of degree (for "so").

"Tight" in the line "I'm holding you so tight" is sung with a melisma (B A B D E, I think), also giving a sense of degree.

"Watch Your Step"

In "Watch Your Step," the "away" in the line "Before you go away" is sung with a melisma (C C Eb F G, I think), musically giving a sense of movement.  "Every" and "night" in the line "You gonna miss me every night" are also sung with melismas (G Bb C Eb F Eb and F G respectively), musically giving a sense of number or frequency, and in the following line - "I'm gonna get myself together, and ev'rything gonna be alright" - the "al" of "alright" is sung with a melisma (G F Eb), musically giving a sense of breadth or entirety.

While reviewing the song in order to write this post, I also noticed that "wide" in the line "Keep your eyes open wide" is also sung with a melisma (D C Bb G, I think), musically giving a sense of the word's meaning and that the three syllables of "ev'rything" in the line "I'm gonna get myself together, and ev'rything gonna be alright" are all sung to different pitches (G F Eb) for a sense of breadth.

"Look Away"

At the beginning of "Look Away," the only instrumentation is organ, and the sparseness of the arrangement gives some sense of the solitude of the first line:  "All alone, standing here by myself."

"Alone" in that first line is sung with a melisma (Bb C Bb A G F G) musically giving a sense of the degree of that "all."  In the first line of the second verse - "She's so close, the girl that I knew so well" - "close" is sung with the same melisma for a musical sense of the degree of that "so."  The second "so" there ("so well") is also sung with a melisma (A G F) for a sense of degree.

At least one of the "away"s in the title phrase in the lead vocals (at ~1:47) is sung with a melisma (D D C), musically giving a sense of movement.  The "look away"s in the backing vocals are sung to phrases that move in opposite directions (one descends - C C A; one ascends - E E F), which gives a sense of movement or even of distance.

"Since I Don't Have You"

"Since I Don't Have You" exhibits the rhetorical effect of anaphora - the repeated "I don't have."  This gives a sense of the singer/speaker's utter lack.  In the verses, the backing vocals double only "I don't have," so the lack of the various things that the lead vocal mentions ("plans and schemes... hopes and dreams...") is also represented by their absence.

The three syllables of "anything" in the repeated line "I don't have anything" are all sung to different pitches (G F Db), musically giving a sense of breadth.

While it's probably intended to be causal (in the same way that the title phrase is), the line "Since you walked out on me, oh, in walked old misery" in the bridge could also be understood as temporal.

"Share" in the line "And I don't have love to share" is sung with a melisma (F Db); since the word is sung to two different pitches, there's a musical sense of that "shar[ing]."