"Renaissance Fair"

In the line "I hear music ev'rywhere" in "Renaissance Fair," the three syllables of "ev'rywhere" are sung to all different pitches (A E C#), providing a sense of that breadth.

"C.T.A. - 102"

In the lines "We just want to let you know / That we're ready for to go" in "C.T.A. - 102," one of the backing vocal parts sings "Go" with a melisma (E D C), giving a sense of movement.

"Psychodrama City"

In "Psychodrama City," the end of the line "Me and my friends got on a plane" ascends, and the end of the line "One of my friends got off again" descends (I'm not sure of the specific pitches for either line).  That the phrases go in different directions illustrates these opposites.  To some degree, the ascent and descent could also represent going up into the plane and down out of it.

"I Know My Rider (I Know You Rider)"

In "I Know My Rider (I Know You Rider)," "rollin'" in the lines "She's gonna miss her lovin' daddy / From rollin' in her arms" is sung with a melisma (F E D), giving something of a sense of movement.

"I Come and Stand at Every Door"

During the last month or so of 2023, I listened to all of the Byrds albums from Fifth Dimension to (Untitled) and noticed some features I plan to write about in a series of weekly posts.

The first half of the fourth verse of "I Come and Stand at Every Door" exhibits anaphora (the repeated "I need no..."):  "I need no fruit; I need no rice / I need no sweets nor even bread."  I think its function here is simply to emphasize that the narrator "ask[s] for nothing for myself."

In the last verse ("All that I ask is that for peace / You fight today..."), there's a second vocal part (initially just doubling the lead vocal but then harmonizing with it).  This extra voice highlights the earnestness of the narrator's request ("All that I ask...").