piece. After he played it on the piano at a family gathering, his aunt Gin enjoyed the tune, prompting him to give it the working title "Auntie Gin's Theme". He added fast-paced lyrics which may have been inspired by his relationship with Asher, turning the song into a cheerful love ballad. McCartney completed "I've Just Seen a Face" too late for inclusion in the Beatles' second feature film, Help!, most of the songs for which were recorded in February 1965. He presented it to the band in mid-June, soon after returning from holidaying in Portugal with Asher. During the holiday, he also wrote the lyrics to his ballad "Yesterday". Author Ian MacDonald comments that, since writing "Can't Buy Me Love" in early 1964, McCartney had fallen behind Lennon in output, Lennon being the primary writer of the Beatles' next four singles. Most of the sessions for the band's Help! album had also focused on Lennon compositions. In MacDonald's view, given McCartney's absorption in his relationship with Asher and the contrasting depth and originality of Lennon's writing since 1964, McCartney was motivated by the need to apply a renewed focus in his writing on Help!, to regain his equal status in the songwriting partnership. Composition Music "I've Just Seen a Face" is in the key of A major and is in 2/2 (cut time). The song begins with a ten measure intro. Split into three phrases, the intro uses triplets that are slower than the rest of the song to create a sense of acceleration, reinforced by a shortened third phrase which quickens the first verse's arrival. McCartney used the effect of slow triplets again later that year in "We Can Work It Out". The song's first chord is F-sharp minor, slightly away from the home key, and is similar to "Help!" in leaving its harmonic grounding ambiguous until the end of the intro. Following the intro, the song speeds up in tempo to what music scholar Terence J. O'Grady calls "an undanceable speed". The song uses four chords total; the twelve-measure verses use the common pop chord progression I–vi–IV–V, while the eight-measure refrains use the blues progression V–IV–I. The latter progression simulates descent (further suggested by the lyrics: "[V] falling, yes I am [IV] falling, and she keeps [I] calling..."), and the inclusion of a melodic minor third on the first syllable of "calling" gives the refrain section a blues