up" primarily through the use of phrase lengths that deviate from a standard eight bars. Consistent with the song title, the lyrics comprise a series of antonyms – such as yes–no, high–low and stop–go. With the narrative perspective alternating between first and second person, the composition also recalls George and Ira Gershwin's "Let's Call the Whole Thing Off". Following the third chorus, at 2:36 on the released recording, the bassline descends chromatically to mark the start of what musicologist Alan Pollack terms the "first outro" and Everett calls a "codetta". After this false ending, the song returns with a 45-second coda, which MacDonald identifies as a "Maori finale – a mistake for 'Hawaiian' (aloha)". The coda consists of a repeated musical phrase over a pedal point in C major, accompanied by the vocal refrain "Helaheba-hello-a". Recording The Beatles began recording "Hello, Goodbye" at EMI Studios (now Abbey Road Studios) in October 1967, towards the end of filming for their Magical Mystery Tour television special. The latter was a film project that McCartney had initiated in an effort to focus the group in the wake of Epstein's death that August. Under the working title "Hello Hello", the Beatles taped the basic track for the song on 2 October, with George Martin producing the session and Geoff Emerick and Ken Scott as engineers. Author Richie Unterberger comments that the production and recording was unusually straightforward, relative to the experimentalism that had characterised much of the Beatles' studio work since completing Sgt. Pepper. The line-up on the take selected for overdubs, take 14, was McCartney on piano, Lennon on Hammond organ, George Harrison on maracas, and Ringo Starr on drums. The band members then added tambourine, conga drum and bongos over the coda. This last section of the song came about while the group were working in the studio. Lennon, who was otherwise highly critical of "Hello, Goodbye", approved of the addition, saying: "The best bit was the end, which we all ad-libbed in the studio, where I played the piano. Like one of my favourite bits on 'Ticket to Ride', where we just threw something in at the end." In McCartney's recollection, the coda "didn't sound quite right" until Emerick increased the reverberation on the tom-tom drums, at which point, "it just came ." Everett cites the "Maori finale" as an example of the Beatles' pioneering use of codas in their recordings;