<P> MacDonald characterises McCartney's "When I'm Sixty - Four" as a song "aimed chiefly at parents", borrowing heavily from the English music hall style of George Formby, while invoking images of the illustrator Donald McGill's "seaside postcards". Its sparse arrangement includes chimes, clarinet and piano . Everett singles it out as a case of McCartney's "penchant for the audience - charming vaudeville...that Lennon detested". Moore characterises the song as a synthesis of ragtime and pop, noting that its position following "Within You Without You"--a blend of Indian classical music and pop--demonstrates the diversity of the album's material . McCartney asked that the clarinets be arranged "in a classical way", which according to Martin "got...round the lurking schmaltz factor...(and) gave added bite to the song, a formality that pushed it firmly towards satire". MacDonald notes that the song's inclusion amidst Sgt . Pepper's "multi-layered psychedelic textures...provid (es) a down - to - earth interlude". Moore credits Martin's clarinet arrangement and Starr's use of brushes with establishing the music hall atmosphere, which is reinforced by McCartney's vocal delivery and the recording's use of chromaticism, a harmonic pattern that can be traced to Scott Joplin's "The Ragtime Dance" and The Blue Danube by Johann Strauss . Varispeeding was used on the track, raising the music's pitch by a semitone in an attempt to make McCartney sound younger . Everett notes that the lyric's protagonist is sometimes associated with the Lonely Hearts Club Band, but in his opinion the song is thematically unconnected to the others on the album . </P> <P> Womack characterises "Lovely Rita" as a work of "full - tilt psychedelia" that contrasts sharply with the preceding track . He identifies the song as an example of McCartney's talent for "creating imagistic musical portraiture", yet he also considers it to be a work that foreshadows the "less effectual compositions" that the Beatles would record post-Sgt . Pepper . Moore views the track as a "throwaway" while praising what he characterises as its "strong sense of harmonic direction". MacDonald describes the song as a "satire on authority" that is "imbued with an exuberant interest in life that lifts the spirits, dispersing self - absorption". </P> <P> "Good Morning Good Morning" was inspired by a television commercial for Kellogg's Corn Flakes, from which Lennon adapted a jingle as the song's refrain . The track utilises the bluesy mixolydian mode in A, which Everett credits with "perfectly express (ing) Lennon's grievance against complacency". Lennon regarded the song as "a throwaway piece of garbage", and McCartney viewed it as Lennon's reaction to the frustrations of domestic life . Womack praises the song's varied time signatures, including 5 / 4, 3 / 4 and 4 / 4, calling it a "masterpiece of electrical energy". MacDonald notes Starr's "fine performance" and McCartney's "coruscating pseudo-Indian guitar solo", which he credits with delivering the track's climax . A series of animal noises are heard during the fade - out that are sequenced--at Lennon's request--so that each successive animal is large enough to devour the preceding one . Martin spliced the sound of a chicken clucking at the end of the track to overlap with a guitar being tuned in the next one, making a seamless transition between the two songs . </P> <P> "Sgt . Pepper's Lonely Hearts Club Band (Reprise)" serves as a bookend for the album and a segue to its finale . The hard - rocking song was written after the Beatles' assistant, Neil Aspinall, suggested that since "Sgt . Pepper" opened the album, the fictional band should make an appearance near the end . The reprise omits the brass section from the title track and features a faster tempo . MacDonald notes the Beatles' apparent excitement, which is tangibly translated during the recording . </P>

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