| 1 | P.S. I Love You | 1962 | Please Please Me | Paul | Long-distance commitment |
| 2 | Love Me Do | 1962 | Please Please Me | Paul, John | Seeking commitment from 'you' |
| 3 | Please Please Me | 1963 | Please Please Me | John, Paul | Reciprocity grievance |
| 4 | Do You Want to Know a Secret | 1963 | Please Please Me | George | Intimate two-person secret |
| 5 | Misery | 1963 | Please Please Me | John, Paul | Loss and longing for her return |
| 6 | From Me to You | 1963 | Past Masters | John, Paul | – |
| 7 | Thank You Girl | 1963 | Past Masters | John, Paul | Thanking partner for steady love |
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| 8 | I'll Get You | 1963 | Past Masters | John, Paul | Narrator persuading the addressee |
| 9 | She Loves You | 1963 | Past Masters | Paul, John | Narrator mediates a couple's quarrel |
| 10 | Little Child | 1963 | With The Beatles | John, Paul | Wooing a reluctant partner |
| 11 | Not a Second Time | 1963 | With The Beatles | John | Refusing reconciliation after betrayal |
| 12 | I Wanna Be Your Man | 1963 | With The Beatles | Ringo | Seeks commitment from partner |
| 13 | It Won't Be Long | 1963 | With The Beatles | John | Anticipating partner's return |
| 14 | Hold Me Tight | 1963 | With The Beatles | Paul | Hold |
| 15 | Don't Bother Me | 1963 | With The Beatles | George | Withdrawal after breakup |
| 16 | All I've Got to Do | 1963 | With The Beatles | John | Reciprocal commitment between two |
| 17 | All My Loving | 1963 | With The Beatles | Paul | Long-distance commitment |
| 18 | This Boy | 1963 | Past Masters | John, Paul, George | Rival, regret, jealousy triangle |
| 19 | I Want to Hold Your Hand | 1963 | Past Masters | John, Paul | Hold, touch |
| 20 | Sie Liebt Dich | 1964 | Past Masters | John, Paul | Reconciliation after a quarrel |
| 21 | I Call Your Name | 1964 | Past Masters | John | Breakup aftermath, self-blame |
| 22 | Can't Buy Me Love | 1964 | A Hard Day's Night | Paul | Negotiating what partner truly wants |
| 23 | You Can't Do That | 1964 | A Hard Day's Night | John | Jealousy and possessiveness |
| 24 | I'm Happy Just to Dance with You | 1964 | A Hard Day's Night | George | Kiss, hold, hug |
| 25 | I Should Have Known Better | 1964 | A Hard Day's Night | John | Kiss |
| 26 | If I Fell | 1964 | A Hard Day's Night | John, Paul | Weighs new love against old |
| 27 | Tell Me Why | 1964 | A Hard Day's Night | John | Confrontation after betrayal |
| 28 | Things We Said Today | 1964 | A Hard Day's Night | Paul | Long-distance commitment |
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| 29 | When I Get Home | 1964 | A Hard Day's Night | John | Impatient to reunite with her |
| 30 | I'll Cry Instead | 1964 | A Hard Day's Night | John | Lost the only girl he had |
| 31 | I'll Be Back | 1964 | A Hard Day's Night | John | Cycle of leaving and returning |
| 32 | I Feel Fine | 1964 | Past Masters | John | Secure mutual love |
| 33 | She's a Woman | 1964 | Past Masters | Paul | Trust, jealousy denied, loyalty |
| 34 | I'll Follow the Sun | 1964 | Beatles For Sale | Paul | Departing lover; loss anticipated |
| 35 | What You're Doing | 1964 | Beatles For Sale | Paul | Partner causing distress |
| 36 | Every Little Thing | 1964 | Beatles For Sale | John | Settled, secure attachment |
| 37 | No Reply | 1964 | Beatles For Sale | John | Jealousy, betrayal, confrontation |
| 38 | I'm a Loser | 1964 | Beatles For Sale | John | Lost love, regret over the one he 'should never have crossed' |
| 39 | I Don't Want to Spoil the Party | 1964 | Beatles For Sale | John | Strained love; partner failed to show |
| 40 | Baby's in Black | 1964 | Beatles For Sale | John, Paul | Triangle: narrator, girl, her dead/lost lover |
| 41 | Eight Days a Week | 1964 | Beatles For Sale | John | Hold |
| 42 | Ticket to Ride | 1965 | Help! | John | Partner leaving, dynamic of departure |
| 43 | Yes It Is | 1965 | Past Masters | John, Paul, George | Torn between new love and old memory |
| 44 | I'm Down | 1965 | Past Masters | Paul | Mocking, contemptuous lover |
| 45 | Yesterday | 1965 | Help! | Paul | Breakup; she left, he doesn't know why |
| 46 | The Night Before | 1965 | Help! | Paul | Abandoned the day after intimacy |
| 47 | You've Got to Hide Your Love Away | 1965 | Help! | John | Lost partner; cannot go on |
| 48 | It's Only Love | 1965 | Help! | John | Strained dynamic, nightly fighting |
| 49 | You're Going to Lose That Girl | 1965 | Help! | John | Love triangle, warning rival |
| 50 | Another Girl | 1965 | Help! | Paul | Breakup announcement to former partner |
| 51 | Tell Me What You See | 1965 | Help! | John, Paul | Seeking trust and commitment |
| 52 | You Like Me Too Much | 1965 | Help! | George | Partner threatening to leave |
| 53 | I Need You | 1965 | Help! | George | Lover threatening to leave |
| 54 | We Can Work It Out | 1965 | Past Masters | Paul, John | Argument and attempt to reconcile |
| 55 | Day Tripper | 1965 | Past Masters | John, Paul | Narrator deceived by uncommitted partner |
| 56 | If I Needed Someone | 1965 | Rubber Soul | George | Dismissive 'if I had time' stance |
| 57 | Norwegian Wood (This Bird Has Flown) | 1965 | Rubber Soul | John | Power inversion – she controls the night |
| 58 | Think for Yourself | 1965 | Rubber Soul | George | Severing ties with the addressee |
| 59 | You Won't See Me | 1965 | Rubber Soul | Paul | Communication breakdown with girlfriend |
| 60 | What Goes On | 1965 | Rubber Soul | Ringo | Betrayal by unfaithful partner |
| 61 | I'm Looking Through You | 1965 | Rubber Soul | Paul | Sense of partner having changed |
| 62 | Girl | 1965 | Rubber Soul | John | Push-pull entanglement, can't leave |
| 63 | Wait | 1965 | Rubber Soul | John, Paul | Conditional on her heart's state |
| 64 | Run for Your Life | 1965 | Rubber Soul | John | Possessive jealousy controlling partner |
| 65 | Here, There and Everywhere | 1966 | Revolver | Paul | Share |
| 66 | Got to Get You into My Life | 1966 | Revolver | Paul | Hold, together |
| 67 | I Want to Tell You | 1966 | Revolver | George | Words slip away whenever 'you' are near |
| 68 | Eleanor Rigby | 1966 | Revolver | Paul | – |
| 69 | For No One | 1966 | Revolver | Paul | Relationship dying, partner withdrawing |
| 70 | Within You Without You | 1967 | Sgt. Pepper's Lonely Hearts Club Band | George | Share, hold |
| 71 | Getting Better | 1967 | Sgt. Pepper's Lonely Hearts Club Band | Paul | Partner credited with the change |
| 72 | Fixing a Hole | 1967 | Sgt. Pepper's Lonely Hearts Club Band | Paul | Belong |
| 73 | Happiness Is a Warm Gun | 1968 | The Beatles (The White Album) | John | Touch, trust, hold |
| 74 | Revolution 9 | 1968 | The Beatles (The White Album) | – | Sorry, forgive, hold |
| 75 | Rocky Raccoon | 1968 | The Beatles (The White Album) | Paul | Love triangle, jilted lover |
| 76 | Don't Pass Me By | 1968 | The Beatles (The White Album) | Ringo | Fearing partner no longer loves him |
| 77 | Martha My Dear | 1968 | The Beatles (The White Album) | Paul | 'You and me were meant to be for each other' |
| 78 | I Will | 1968 | The Beatles (The White Album) | Paul | Together, apart |
| 79 | Julia | 1968 | The Beatles (The White Album) | John | Touch |
| 80 | Ob-La-Di, Ob-La-Da | 1968 | The Beatles (The White Album) | Paul | Couple |
| 81 | Everybody's Got Something to Hide Except Me and My Monkey | 1968 | The Beatles (The White Album) | John | John and Yoko against the paranoid world |
| 82 | All Together Now | 1969 | Yellow Submarine | Paul, John | Together |
| 83 | Don't Let Me Down | 1969 | Past Masters | John, Paul | Dynamics of trust and reciprocation |
| 84 | Old Brown Shoe | 1969 | Past Masters | George | Commitment, shedding the old self |
| 85 | Oh! Darling | 1969 | Abbey Road | Paul | Fear of being abandoned |
| 86 | Come Together | 1969 | Abbey Road | John | – |
| 87 | One After 909 | 1970 | Let It Be | John, Paul | Lover leaving, narrator pleads |
| 88 | I've Got a Feeling | 1970 | Let It Be | Paul, John | Fear partner may leave |
| 89 | The Long and Winding Road | 1970 | Let It Be | Paul | Absent lover's return implored |
| 90 | Free as a Bird | 1995 | Reunion singles | John, Paul, George | 'Can we really live without each other' |