Girl - The Beatles (Guitar Cover)

The final song to be recorded for Rubber Soul, Girl was written by both John and Paul, but mostly by John, with a small fragment of the song being written by McCartney on holiday in Greece in September 1963. The lyrics were a Lennon composition, lending insights into not only his perspective of the percieved ideal relationship structures of the time, but also touched upon his feelings towards Religion.

For the recording on the song, the basic track was completed in just two takes, leaving 3 tracks for overdubs - this is where the speculation comes. For the past 60 years, the general consensus was that George added 2 guitars as an overdub on John's 12 string Framus Hootenanny. However, as stated by a few - including Sam Popkin - this doesn't line up with what is heard on the album. If theses parts were on fact played on a 12 string guitar, an octaved note would be heard on the G string, however, this isn't at all present on the recording. Also, there can be heard some slight discrepancies between the playing of the overdubbed parts, leading to the conclusion that these overdubbed parts were played by John and George on their Gibson J-160e's, as two J-160e's were in the bands possesion - George's (John's) 1962 J-160e, and the newer Manny's J-160e, which would later be stripped to a natural finish. It is possible that one of the parts were played by Paul on his Epiphone Texan along with George, ala And Your Bird Can Sing, however, I'm not entirely convinced.
Another discussion could arise from the number of rhythm guitars on the basic track, with some people believing that Lennon solely carried the rhythm, but I'm not too convinced. By listening to the isolations of the guitar track, it can be heard that there are two rhythm guitars. Especially during the bridge, I personally can hear two guitars - one very harshy strumming the low notes of the chord (John) and the other lightly strumming the higher strings (George). I believe that George's guitar part, which is rather buried in the final mix, simple follows the pulse of the song, playing on the crotchet beats, with John's guitar playing more quavers and following the vocal melody line.

For my cover, I am using my 2016 Epiphone EJ-160e recorded with my Rode NT1-A Condensor microphone, as can be seen.

Throughout the song, John's guitars follows, a bit loosely, the vocal melody line, whilst George sticks with a more basic crotchet pattern, with his guitar more buried in the final mix, most audible during the bridge. Interestingly, the guitar parts are tuned quite flat relative to A = 440Hz pitch.

0:00 - Both guitars enter on two crotchet beats.
0:38 - John plays two crotchets on the Eb chord (1110881111) followed by quavers, mimicking the vocal line, on the G chord (X10910810)
1:00 - Here George's rhythm part is most evident in the bridge, John strums rather harshly on the Fm and C chords, whilst George more delicatley strums the higher strings, most noticabley at 1:08.
1:30 - The two guitars as performed on the second track by John and George. Previously, and incorrectly, thought to have been played on the 12 string Framus Hootenanny, these parts are performed in unison. The tonal quality is similar to that of a Mandolin, or Greek Bouzouki, is achieved by plucking the strings very hard near the bridge.
1:59 - The final guitar overdub on the third track features, again, John and George in unison - seen in the top two guitars on the screen, but this time they play in harmony relative to the previous line. There is some discrepencies between the two upper harmony guitars, with (most likely) John's part (top left) adding ornamental glissandos between the B and G# notes on the high E string as the line descends.

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