early 1966 while the Beatles were enjoying an unusually long period free of professional commitments, due to their inability to find a suitable film project. He used the available time to further explore his interest in Indian music and the sitar, which, journalist Maureen Cleave noted in a contemporary article, "has given new meaning to [his] life". Aside from honeymooning in Barbados with his wife, English model Pattie Boyd, Harrison's activities included receiving sitar tuition from an Indian musician at the Asian Music Circle (AMC) in north London, where he also attended music recitals, and seeing Indian sitarist Ravi Shankar perform at the Royal Festival Hall. As reflected in "Love You To", Harrison continued to immerse himself in recordings by Shankar, who, when the pair met in June 1966, would agree to take Harrison as his student. This meeting took place at the home of the AMC's founders, Ayana and Patricia Angadi, whose network of friends and visitors added to Harrison's self-education in new forms of art, culture and politics. Typically of his songs over this period, Harrison was unable to commit to naming the new composition. At the start of the sessions for the Beatles' Revolver album, Geoff Emerick, the band's recording engineer, gave the song the working title of "Granny Smith", after the variety of apple. The song was partly inspired by Harrison's experimentation with the hallucinogenic drug LSD, which he credited as a catalyst for increased awareness and his interest in Eastern philosophical concepts. Author Ian MacDonald views the subject matter as "part philosophical" and "part love-song" to Boyd. Composition Musical form "Love You To" is in the key of C and adheres to the pitches of Kafi thaat, the Indian equivalent of Dorian mode. The composition emulates the khyal vocal tradition of Hindustani (or North Indian) classical music. Structurally, it comprises an opening alap; a gat section, which serves as the main portion of the song; and a short drut (fast) gat to close the piece. The alap consists of sitar played in free tempo, during which the song's melody is previewed in the style of an Indian raga. Described by Harrison biographer Simon Leng as "essentially an adaptation of a blues lick", the seven-note motif that closes the alap serves as a recurring motif during the ensuing gat. The change of metre following the alap marks the first such example in the Beatles' work; it