Editing Hello, Goodbye (section)

==Composition==
"Hello, Goodbye" is in the key of [[C major]] and in {{music|time|4|4}} time.<ref name=pollack>{{cite web|url=http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/hg.shtml|title=Notes on 'Hello Goodbye'|last=Pollack|first=Alan W.|year=1996|publisher=soundscapes.info|access-date=22 June 2015}}</ref> MacDonald describes the musical structure as "characteristically [[Scale (music)|scalar]]" and founded on "a descending sequence in C", with "a brief touchdown on A flat as its only surprise".{{sfn|MacDonald|1998|p=238}} Musicologist [[Walter Everett (musicologist)|Walter Everett]] writes that the bassline in the chorus is an [[Interval (music)#Inversion|inverted form]] of the descending scale, which is accentuated on the Beatles' recording by the lead guitar part.{{sfn|Everett|1999|p=143}}

In Everett's estimation, much of "Hello, Goodbye" references previous Lennon–McCartney compositions: over the verses, the parallel thirds in the vocal recall the band's unreleased song "[[Love of the Loved]]", among others; melodically, the chorus is similar to the keyboard part on "[[For No One]]"; and the complementary vocal parts in the final verse recall "[[Help! (song)|Help!]]"{{sfn|Everett|1999|pp=143–44}} Everett also suggests that, early in "Hello, Goodbye", McCartney appears to be imitating the V–VI chord "ambivalence" of "[[Strawberry Fields Forever]]".{{sfn|Everett|1999|p=143}} Everett describes the composition as "derivative McCartney", for the most part, "freshened up" primarily through the use of phrase lengths that deviate from a standard eight [[Bar (music)|bars]].{{sfn|Everett|1999|p=143}}

Consistent with the song title, the lyrics comprise a series of [[Opposite (semantics)#Antonyms|antonyms]] – such as yes–no, high–low and stop–go.{{sfn|Hertsgaard|1996|p=232}} With the [[Narration#Narrative point of view|narrative perspective]] alternating between first and second person, the composition also recalls [[George Gershwin|George]] and [[Ira Gershwin]]'s "[[Let's Call the Whole Thing Off]]".<ref name=pollack />{{sfn|Womack|2014|p=370}}

Following the third chorus, at 2:36 on the released recording, the bassline descends [[Chromatic scale|chromatically]] to mark the start of what musicologist [[Alan W. Pollack|Alan Pollack]] terms the "first outro"<ref name=pollack /> and Everett calls a "[[codetta]]".{{sfn|Everett|1999|p=143}} After this false ending, the song returns with a 45-second [[coda (music)|coda]],<ref name=pollack /> which MacDonald identifies as a "[[Māori culture|Maori]] finale – a mistake for 'Hawaiian' (''[[aloha]]'')".{{sfn|MacDonald|1998|pp=238–39}} The coda consists of a repeated musical phrase over a [[pedal point]] in C major,<ref name=pollack /> accompanied by the vocal refrain "Helaheba-hello-a".{{sfn|Womack|2014|p=371}}