We Can Work It Out

‘We Can Work It Out’ is a masterclass in the Lennon-McCartney collaborative dynamic, expressed through harmonic contrast. Paul McCartney’s verse is written in D major, but it avoids the traditional 'sunny' pop sound by leaning on a C major chord (the flat-VII). This modal borrowing from D Mixolydian gives the section a grounded, folk-rock grit that mirrors the lyrics’ plea for perspective. Rather than resolving with a standard dominant A7, the verse circles back through G (the IV chord) to D, creating a cyclical, restless energy that perfectly captures the feeling of an ongoing argument. The song’s emotional pivot occurs during John Lennon’s bridge, where the harmony plunges into the relative minor (B minor). The introduction of a sharp F#7 chord—a major III acting as a secondary dominant—creates a stinging tension that underlines the urgency of 'fussing and fighting.' This section is famously augmented by George Harrison’s suggestion to shift into a 3/4 waltz time signature, a rhythmic 'hiccup' that makes the B minor section feel like a dizzying, internal monologue. The inclusion of the harmonium provides a thick, reedy texture that drones through these shifts, binding the disparate major and minor moods into a single, cohesive plea for resolution.

Paul McCartney wrote the verses and chorus at his home in London, then took the song to John Lennon's home in Weybridge to complete it. While Paul's sections were optimistic, John contributed the more impatient and philosophical middle eight. During the recording sessions, George Harrison suggested the arrangement change that shifted the middle eight into a 3/4 'waltz time' section.

Originally released as a groundbreaking double A-side single in 1965, this track highlights the creative synergy between McCartney’s hopeful outlook and Lennon’s pragmatic realism. It serves as a sonic bridge between the band’s early pop success and the more experimental, folk-influenced textures of their mid-career masterpieces.