simultaneous I (G chord) and melody G note) and moves equally predictably to a I–ii–iii–IV chord shift (G–Am–Bm–C) through "making each day of the year". This repeats on "Changing my life with a wave"; but immediately after (in bar 5) the song indeed changes on "of her hand". It goes down six semitones from the IV (C chord) to a vii (Fm) [adding a non-G scale C#] then a V-of-vi (B7) chord [adding a non-G scale D] which briefly modulates towards a new tonic E minor. McCartney mostly sings a B note ("of her hand") over both Fm, where it is the eleventh, and the B7, where it is the tonic. When the sequence is repeated ("nobody can"), McCartney sings both B and C over the Fm, the C natural producing a tritone. The harmonic fascination with the bridge segment beginning "I want her everywhere" is that at that point the key centre does go "everywhere". It shifts via an F7 chord (a VII in the old G key and a V7 in the new B key) to a I–vi–ii (B–Gm–Cm) chord progression in B major. It then shifts again via a D7 chord (a III7 in the old B key and a V7 in the new Gm key) to G minor where we go through a i–iv (Gm–Cm chord) progression. Finally the pivot of D7 takes us back to the G major tonic and reinforcing G melody note of "Everywhere". Rolling Stone has noted: "The tune's chord sequence bears Brian Wilson's influence, ambling through three related keys without ever fully settling into one, and the modulations – particularly the one on the line 'changing my life with a wave of her hand' – deftly underscore the lyrics, inspired by McCartney's girlfriend, actress Jane Asher." Recording The Beatles recorded "Here, There and Everywhere" towards the end of the sessions for their 1966 album Revolver. The band worked on the song at Abbey Road Studios over three session dates – on 14, 16 and 17 June. Before carrying out overdubs, they taped 13 takes before achieving a satisfactory basic track. The recording is noted for its layered backing vocals, which McCartney, Lennon and George Harrison spent much of the three days attempting to perfect. McCartney mentioned in the 1989 radio series McCartney on McCartney that the vocals were meant to have a Beach Boys sound; he has also said that he