"Come Together"

I recently got the 2-CD version of the 50th anniversary edition of Abbey Road.  I listened to it for the first time a few days ago, and I realized that "Come Together" exhibits anaphora.  Throughout the song, there are various lines with the same structure:

He got joo joo eyeball 

He got toe jam football 

He got monkey finger 

He got Ono sideboard 

He got feet down below his knee 

He got early warning 

He got muddy water

(I had to reference The Beatles Complete Chord Songbook for the lyrics, although I'm not sure those are completely accurate either.)

The use of anaphora here emphasizes the amount of things that "old flat top" has.

"Sexy Sadie"

In the line "Just a smile would lighten ev'rything" in "Sexy Sadie," "ev'rything" is sung with a melisma (D B E D E G), musically giving a sense of breadth.

"Don't Pass Me By"

I listened to the 50th anniversary edition of The Beatles (the 3-CD version) over the last two days and noticed a couple things.

In the two "does it mean you don't love me anymore" clauses in "Don't Pass Me By," the "-more" of "anymore" is sung with a melisma (E C), so while it's negated ("not... anymore"), there's a musical sense of continuation.

"Sweet Little Sixteen"

I was going through some old notes this morning and discovered something that I'd noticed about Chuck Berry's "Sweet Little Sixteen" over six years ago that also holds true for the live version that the Beatles performed on the BBC.  The list of places (Boston, Philadelphia, Texas, the 'Frisco Bay, St. Louis, and New Orleans) is an example of a rhetorical device called cataloguing.  In its use here, it gives a sense of geographic breadth.

I also noticed a discrepancy between the Beatles' version and Berry's original:  the Beatles have "Philadelphia, PA" instead of Berry's "Pittsburgh, PA."

"Ticket to Ride"

Lately, I've been going through some old notes I made and fleshing them out into coherent commentary.  Last July, I listened to the Carpenters' version of "Ticket to Ride" and noticed that "free" in the line "He would never be free when I was around" is sung with a melisma (F Eb D), musically giving a sense of freedom because the word isn't constrained to a single pitch.  I referenced the Beatles' original this morning and found that this feature is present there too.

As I've mentioned before, "Ticket to Ride" is in between A major and Ab major, so I'm a bit unsure of the specific notes, but - skewing towards A major - I think "free" in the Beatles' "She would never be free when I was around" is sung to the notes E D.  The harmony part also has "free" sung to two pitches, but I couldn't determine what they are.