"Hey Jude"

Recently, I remembered a small feature I noticed in "Hey Jude" a number of years ago (via Wilson Pickett's version, actually) but neglected to write about:  in the line "Take a sad song and make it better," "better" is sung with a melisma (D C Bb A), and although the pitches descend, this articulation provides some sense of the comparative nature of the adjective (more notes for a greater degree).

I also had a new realization:  during the line "Then you begin to make it better, better, better, better, better, better, ah" at ~2:57, the repeated "better"s and final "ah" are sung to a steadily ascending phrase that spans just over two octaves (E F | G A | Bb C | E F | G A | Bb C | F).  This ascent - particularly its scope - also gives a sense of the increase of "better."

"Sure to Fall (In Love with You)"

Yester-day, I started listening to a three-disc set of Carl Perkins, and I noticed a small feature in "Sure to Fall" that's also in the versions that the Beatles did live on the BBC.  The repetition involved in the alliterative "so sweet" ("You are so sweet") lends a slight sense of degree.