"Whistle In"

When I listened to 1967: Sunshine tomorrow, I noticed a merism in the alternate versions of "All Day All Night (Whistle In)":

Remember the day (Day)
Remember the night (Night)

Both "day" and "night" are mentioned, but the sense is really "all of the time," as in the next line:  "All day long."

When I referenced the final version of "Whistle In" on Smiley Smile, I found that is also has melismas to give a sense of duration.  "Day" is sung to the notes B G# B, and "long" to the notes A# G# F#.

"Here Comes the Night"

I found a couple things to write about in these lines from "Here Comes the Night":

Every morning my love is reborn, and it lives me with all day long
When things start to change, it takes a little rearranging, but our love goes on and on

"Every" is sung with three syllables, giving a sense of number.

"Long" and the second "on" are sung with melismas (I think both are C C A G), and these give a musical sense of duration or continuation.

"Darlin'"

At ~1:41 in "Darlin'," there's the stand-alone line "Every night, oh, darlin'."  The "every" here is sung with three syllables, giving a sense of number.

"Wild Honey"

I listened to 1967: Sunshine tomorrow yester-day and noticed a few things.

In the line "The girl's got my heart, and my love's comin' down on me" in "Wild Honey," the "comin' down on me" descends (G G E D C), so while it's used more metaphorically (I think), there's a musical sense of that "comin' down."

"Wouldn't It Be Nice"

I was thinking about "Wouldn't It Be Nice" this morning, and I realized a small thing about the line "Hold each other close the whole night through."  "Through" is sung with a melisma (D C Bb), musically giving a sense of duration.

"Heads You Win - Tails I Lose"

This morning I was thinking about "Heads You Win - Tails I Lose" and realized something about the chorus.  For the repeated "Heads you win / Tails I lose" (or the later "Heads I win / Tails you lose"), there are only two chords, and each line is sung with only a single pitch (in the lead vocal, anyway).  "Heads you win" is sung entirely to F# notes above an F# minor, and "Tails I lose" is sung entirely to E notes above an E major.  That there are only two notes and two chords for these two lines musically illustrates the two possible outcomes of the coin flip (although, as the lyrics explain, the outcome of the coin flip really has no bearing on what actually happens).

"This Whole World"

I didn't notice this when I listened to Sunflower last week, but later I noticed in "This Whole World" that "free" in the line "Happy 'cause you're livin', and you're free" is sung with a melisma (E D C#, I think).  Musically, this gives a sense of the word's meaning, since it isn't constrained to a single pitch.

"Come and Go with Me"

Last week, I was thinking about "Come and Go with Me" (which I have only on the Sounds of Summer compilation album), and I realized a small thing about it:  "part" in the line "We will never part" is sung with a melisma (D B), so - although negated - there's a musical sense of that separation.

I referenced the version by the Del Vikings (which I believe is in the original), and while it's in a different key, it too has this feature.

"At My Window"

In "At My Window," the lines "A little brown sparrow came fluttering down" and "I ran out of breath, and I fell to the ground" are sung to generally descending melodies spanning almost an octave (D# to E).  Musically, this gives a sense of the "fluttering down" and "fell to the ground."  After "A little brown sparrow came fluttering down," there's also a descending line played on what I think is a sort of flute (for the same musical picture) and something like a bird call (to represent the sparrow).

"All I Wanna Do"

In "All I Wanna Do," "every" in the line "You can be sure that in my heart and soul I love you in every way" is sung with three syllables, giving a sense of number.

"It's About Time"

I'd noticed this before, but in "It's About Time," there's a fairly large interval between "I used to blow my mind" and "sky high," musically illustrating that (metaphorical) height.  "My mind" is sung to the notes Bb D, and "sky high" to Gs - a fourth higher.

"Deirdre"

In "Deirdre," "more" in the line "Well, we don't have to talk about much more" is sung with a melisma (I think it's E# F# E# D#, but the song as a whole seems a bit sharp, so it's hard to tell), musically giving a sense of the word's meaning.