<P> Lennon began writing the song in Almería, Spain, during the filming of Richard Lester's How I Won the War in September--October 1966 . The earliest demo of the song, recorded in Almería, had no refrain and only one verse: "There's no one on my wavelength / I mean, it's either too high or too low / That is you can't you know tune in but it's all right / I mean it's not too bad". He revised the words to this verse to make them more obscure, then wrote the melody and part of the lyrics to the refrain (which functioned as a bridge and did not yet include a reference to Strawberry Fields). He subsequently added another verse and the mention of Strawberry Fields . The first verse on the released version was the last to be written, close to the time of the song's recording . For the refrain, Lennon was again inspired by his childhood memories: the words "nothing to get hung about" were inspired by Aunt Mimi's strict order not to play in the grounds of Strawberry Field, to which Lennon replied, "They can't hang you for it ." The first verse Lennon wrote became the second one in the released version of the song, and the second verse he wrote became the last . </P> <P> Although "Strawberry Fields Forever" is primarily Lennon's composition, in 1967 Lennon said that McCartney had contributed to the song, just as he had helped McCartney complete "Penny Lane". McCartney wrote the melody for the Mellotron introduction, which George Martin called a "simple but inspired piece of composition". </P> <P> The song was originally written on acoustic guitar in the key of C major . The recorded version is approximately in B ♭ major; owing to manipulation of the recording speed, the finished version is not in standard pitch (some, for instance, consider that the tonic is A). The introduction was played by McCartney on a Mellotron, and involves a I--ii--I--♭ VII--IV progression . The vocals enter with the chorus instead of a verse . In fact we are not "taken down" to the tonic key, but to "non-diatonic chords and secondary dominants" combining with "chromatic melodic tension intensified through outrageous harmonisation and root movement". The phrase "to Strawberry" for example begins with a somewhat dissonant G melody note against a prevailing F minor key, then uses the semi-tone dissonance B ♭ and B notes (the natural and sharpened 11th degrees against the Fm chord) until the consonant F note is reached on "Fields". The same series of mostly dissonant melody notes cover the phrase "nothing is real" against the prevailing F ♯ chord (in A key). </P> <P> A half - measure complicates the metre of the verses, as well as the fact that the vocals begin in the middle of the first measure . The first verse comes after the refrain, and is eight measures long . The verse (for example "Always, no sometimes ...") starts with an F major chord in the key of B ♭ (or E chord in the key of A) (V), which progresses to G minor, the submediant, a deceptive cadence . According to Alan Pollack, the "approach - avoidance tactic" (i.e., the deceptive cadence) is encountered in the verse, as the leading - tone, A, appearing on the words "Always know", "I know when", "I think I know of thee" and "I think I disagree", never resolves into a I chord (A in A key) directly as expected . Instead, at the end of the verse, the leading note, harmonised as part of the dominant chord, resolves to the prevailing tonic (B ♭) at the end of the verse, after tonicizing the subdominant (IV) E ♭ chord, on "disagree". </P>

Which of the following is not true of strawberry fields forever