Question: What does Everett think of the chord?
About the article "I Want to Hold Your Hand", section "Musical structure".

Candidate passages:
Nattiez distinguishes between functional and nonfunctional analyses of the chord. 
In minor, a seventh chord built on the supertonic yields a half-diminished seventh chord, which is a very strong predominant chord.
Due to what is considered the harsh nature of root position diminished chords, the ii chord most often appears in first inversion.
The ii chord appears in the natural minor scale and may be considered a minor seventh chord with a flatted fifth and is used in the ii-V-I in minor 
An assumed root (also absent, or omitted root) is, "when a chord does not contain a root (is not unusual)," in guitar playing, where the root may or may not be supplied by the bass guitar or another instrument.
In any context, it is the unperformed root of a performed chord.
This 'assumption' may be established by the interaction of physics and perception (per Hindemith, above), or by pure convention.
"We only interpret a chord as having its root omitted when the habits of the ear make it absolutely necessary for us "to think" of the absent root "in such a place".
"original "We do not acknowledge omitted Roots except in cases where the mind is "necessarily" conscious of them...
There are also cases in instrumental accompaniment in which the root having been struck at the commencement of a measure, the ear "feels" it through the rest of the measure.
"originalIn guitar tablature, this may be indicated, "to show you where the root "would" be,"added and to assist one with, "align the chord shape at the appropriate fret," with an assumed root in grey, other notes in white, and a sounded root in black.
Outside of guitar playing, an example of an assumed root is the diminished seventh chord, of which a note a major third below the chord is often assumed to be the absent root, making it a ninth chord (on ii).
However, the diminished seventh chord affords, "singular facilities for modulation," as it may be notated four ways, to represent four different assumed roots, each a semitone below notes present in the chord (D to C). 
The song is in the key of G and opens on "I'll tell you" with a D-B, B-D melody note drop and rise over a I (G) chord.
Controversy exists over the landmark chord that Lennon stated McCartney hit on the piano while they were composing the song.
Marshall considers it is the minor vi (Em) chord (the third chord in the I-V7-vi (G-D7-Em) progression).
Everett is of the same opinion.
Pedler claims, however, that more surprising is the melody note drop from B to F# against a III7 (B7) chord on "understand".
Music theorists are divided over whether this chord is a iii (Bm), a B major, or a B7 or even a B5 power chord with no major or minor defining third.
The term is borrowed from the contrapuntal technique of "suspension", where a note from a previous chord is carried over to the next chord, and then resolved down to the third or tonic, "suspending" a note from the previous chord.
However, in modern usage, the term concerns only the notes played at a given time; in a suspended chord the added tone does not necessarily resolve, and is not necessarily "prepared" (i.e., held over) from the prior chord.
As such, in C-F-G, F would resolve to E, but in rock and popular music, "the term is used to indicate only the harmonic structure, with no implications about what comes before or after," though preparation of the fourth occurs about half the time and traditional resolution of the fourth occurs usually.
In modern jazz, a third can be added to the chord voicing, as long as it is above the fourth.
Each suspended chord has two inversions.
Suspended second chords are inversions of suspended fourth chords, and vice versa.
For example, Gsus2 (G-A-D) is the first inversion of Dsus4 (D-G-A) which is the second inversion of Gsus2 (G-A-D).
The sus2 and sus4 chords both have an inversion that creates a quartal chord with two stacked perfect fourths.
Suspended fourth and second chords can be represented, in integer notation, as {0, 5, 7} and {0, 2, 7} respectively.
The second inversion (quartal chord) is {0, 5, 10}.
Sevenths on suspended chords are "virtually always minor sevenths", while the 9sus chord is similar to an eleventh chord and may be notated as such.
For example C9sus (C, F, G, B, D) may be notated C11 (C, —, G, B, D, F).