through Harrison's distorted lead guitar, Ringo Starr's drumming, and the use of reverse tape effects. Lennon's singing also draws on the flat timbre and ornamentation, in the form of gamaka, of Hindustani vocal music. Set in the key of G major (the final mix pitches it about a quarter of a semitone below this, while the backing track was taped in G sharp), the song begins with what Pollack calls "a ra-ta-tat half-measure's fanfare of solo snare drums", followed by a guitar intro of the first chord. The verses are nine measures long, and the song is in time. Each verse is based on the G, C and D chords (I, IV, and V). The refrain contains only I and IV chords, and is twelve measures long (the repetition of a six-measure pattern). The first two measures are the G chord. The third and fourth measures are the C chord in the so-called (second) inversion. The fifth and sixth measures return to the G chord. Pollack says the refrain seems slower than the verse, though it is at the same tempo, an illusion achieved by "the change of beat for the first four measures from its erstwhile bounce to something more plodding and regular". After four verses and two refrains, a short solo for guitar and drums is played, with complete silence for one beat. Following this, the music returns accompanied by a portion of singing for which the recording is reversed. Allan Kozinn describes McCartney's bass as "an ingenious counterpoint that takes him all over the fretboard ... while Lennon and McCartney harmonize in fourths on a melody with a slightly Middle Eastern tinge, McCartney first points up the song's droning character by hammering on a high G (approached with a quick slide from the F natural just below it), playing it steadily on the beat for twenty successive beats." Recording The Beatles began recording "Rain" at EMI Studios (now Abbey Road Studios) in London on 14 April 1966, in the same session as "Paperback Writer". They completed the track on 16 April, with a series of overdubs before mixing on the same day. At that time, the band were enthusiastic about experimenting in the studio to achieve new sounds and effects. These experiments were showcased on their seventh album, Revolver. Geoff Emerick, who was the engineer for both sessions, described one technique he used to alter the sonic