"Candy"

In the line "Very profound" in "Candy," "profound" is held for more than a full measure, and this long duration gives a sense of degree (for "very").

"Old Blue"

I listened to Dr. Byrds & Mr. Hyde yester-day and noticed a couple small features.

In the repeated line "Blue chased a possum up a hollow limb" (with "hollow" sung more as "holler") in "Old Blue," the phrase "up a hollow limb" is usually sung to an ascending phrase (D E F# A B the first time and D E F# A D the third time), giving a sense of that "up."

"She Has a Way"

I noted some melismas in "She Has a Way" in my initial series of posts, but I found an-other one:  "Apart" in the line "The way she took me all apart" is sung with a melisma (B A B A), and this sort of disjointed articulation gives a sense of the word's meaning.

"Don't Doubt Yourself, Babe"

Parts of "Don't Doubt Yourself, Babe" (roughly the second half of each verse) exhibit something that's at least close to the Bo Diddley beat.  I've been unable to find anything that defines it in precise musical terms, however, so I can't be very detailed about it.

"It's No Use"

In the clause "And she will be ev'rything" in "It's No Use," "ev'rything" is sung with a melisma (F# C# C# B A#), musically giving something of a sense of its meaning.

"I Knew I'd Want You"

In the lines "I'd like to love you / With all of my heart" in "I Knew I'd Want You," the phrase "all of my heart" is sung to notes of all different pitches (C B A G), giving a sense of the breadth of "all."

"You Won't Have to Cry"

I listened to Mr. Tambourine Man yester-day and noticed a handful of small features.

In the lines "Then, girl, you will see / That you won't have to cry / Anymore" in "You Won't Have to Cry," the "-more" of "Anymore" is sung with a melisma (E D#), giving a sense of its meaning.

Specific to the alternate version that's included as a bonus track on the CD, "strong" in the line "'Cause my love for you's too strong" is also sung with a melisma (in the harmony part:  B A), giving a sense of degree (for "too").

"Jack Tarr the Sailor"

I listened to Ballad of Easy Rider yester-day (because it was Roger McGuinn's birthday), and I noticed a small ambiguity in "Jack Tarr the Sailor."  "Poor" in the line "'There goes Jack Tarr that poor sailor; he must go to sea once more'" could have the sense of "lacking money" (because as Jack himself says in the previous verse "me money was all gone") or the sense of "to be pitied" (because going to sea is something to be avoided; in the first verse, Jack says, "But a man must be blind to make up his mind to go to sea once more," and his advice in the last verse is "get married, lads, and have all night in, and go to sea no more").

"Here without You"

Yester-day, I was thinking about "Here without You" and had a small realization about the lines "Girl, you're on my mind / Nearly all of the time," which are sung to phrases something like:

"All" is sung to a half note, and because this has a longer value (two beats) than any of the surrounding notes, there's something of a sense of the duration of "all of the time."

"Eight Miles High"

I was thinking about "Eight Miles High" this morning, and I realized that there are a couple musical features in the title line that mirror the phrase.

The words are sung to an ascending melody (E F# G), and this provides a musical sense of that height.  Together, the three words are sung to a total of eight beats (two half notes and one whole note), which obviously match the "eight" in the phrase.

"Oil in My Lamp"

Originally, I noted that "Oil in My Lamp" is based on the Parable of the Ten Virgins in Matthew 25:1-13.  That passage is still applicable, but there's a stronger resemblance between the repeated line "Give me oil in my lamp; keep me burnin', burnin', burnin'" and Luke 12:35, where Jesus tells His disciples, "Stay dressed for action and keep your lamps burning."

"Fido"

In the lines "Wide awake, stayin' up late / Wishin' I was not" in "Fido," there are some poetic features that complement the meaning.  There's assonance between "Wide awake" and "stayin' up late," which highlights the relationship between the two phrases, and all of this contrasts, both semantically and poetically, with "Wishin' I was not."