Riley considers that the coda's repeated chord sequence (I–VII–IV–I) "answers all the musical questions raised at the beginnings and ends of bridges", since "The flat seventh that posed dominant turns into bridges now has an entire chord built on it." This three-chord refrain allows McCartney "a bedding ... to leap about on vocally", so he ad-libs his vocal performance for the rest of the song. In Riley's estimation, the song "becomes a tour of Paul's vocal range: from the graceful inviting tones of the opening verse, through the mounting excitement of the song itself, to the surging raves of the coda".