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PLEASE NOTE THAT THIS FORUM IS TAKEN FROM PREVIOUS VERSION OF QUEEN SONGS SITE.
Path: Queen Songs - Forum - Song Analysis: Feelings, FeelingsBookmark and Share

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PD: Feelings, Feelings24 Aug 2008 06:33

Title: Feelings, Feelings
Composer: Brian May
Meter: 4/4, suffle beat
Key: G-Major (E-Major, F-Major)
Form:  Intro | Verse | Verse'| Bridge I-II | Verse" - Outro |

This demo is originated from the "News..." sessions. Probably the album could not bear two straigtahead bluesnumber (the other one being "...Sidewalk"), and finally this one remained on the shelves. As the "...Sidewalk" analysis says: "blues songs usually aren't very complicated. Neither is this one; hence this analysis is short".
The form is relatively blurred as the twelve bar verses are not sharply separated. We have a traditional bridge (shades of "Silver Salmon") with contrasting harmony. In spite of the twelve bars, the harmony doesn't follow the twelve bar blues cliche at all. The verses use four chords most of the time.
The arrangement seemingly lacks any overdubs, and harmonies. Theres's no guitar solo (except one bar in the outro), and the bass line is pretty basic.

 

Intro
The song starts with two measure (more precisely seven beats) drumstick beats and one measure (more precisely three beats) count-in. The intro chords can be interpreted as being in E-Major, but finally the verses start in G-Major. The rhythm is syncopated as the beatmap shows.

Riff:
        /--- 3x ---\
1 .2 .3 .4 .1 .2 .3 .4
         D E   A D   ...

        
Verse:
The harmony is of the four bar phrases start open. The chords are often colored with the bluesy 5-6-5-6 appoggiatura. Another bluesy feature is the well empasized "blue" note.

| C5-6   | -      | G5-F5/G | D#5 D5 G!  |
| IV     | -      | I  bVII | bVI V  I   |
 

| C5-6   | -      | G5      | D#5 D5 G5  |
| IV     | -      | I       | bVI V  I   |


| D#5-6  | C5-6   | D5-6    | D#5   D5   |
| bVI    | IV     | V       | bVI   V    |


The first phrase of the second verse sounds like a closing phrase of the first verse mostly due the wide open ending of the latter. This verse has some sligth modifcations in the chord coloring figures. The last bar closes with a C37 chord pivoting the harmony to the short lived F-Major.

| C5-6   | -      | G5-F5/G | D#5 D5 G5  |
                     
| C5-6   | -      | G5 F5/G | D#5 D5 G5  |

| D#5    | C5     | G5-F5/G | D#3 D37 G5 C37 |
                                        V-of-F

The final verse starts the melody higher.

| C5-6   | -      | G5-F5/G | D#5 D5 G5  |

| C5-6   | -      | G5-F5/G | D#5 D5 G5  |

| D#5-6  | C5-6   | G5-F5/G | D#37 D37 G5|

The two measure outro of the song is developed as a tag piece of the final verse. The first half is a guitar solo the second bar repeats the verse closing.

| solo | D#37 D37 G5 |
|      | bVI  V   I  |


Bridge:
The first half of the bridge has strange ambigous harmony. The mere presence of minor chords, plus one diminised seventh and the only inverted chord makes it special. Taylor on drums switches to "cymbal-metronome" mode, and also May on the guitar plays one chord per bar. The bluesy feel returns for the second half of the second phrase.

| F5    | Ddim7  | Am      | Cm     |
| I     | vidim  | iii     |        |
               G:  ii      | iv     |

| D     | D      : bass guitar
| G     | D/F#   | C5      | D5     |
| I     | V      | IV      | V      |

| C5    | D5     |
| IV    | V      |

The second subsection of the bridge is in the style of the verses.

| C5    |  -     | G5       | -      |
 
| C5    |  C     | G5 F5 F#5| G-F5/G |

|  3 + 3 + 3 + 3 + 2 + 2
| A#5  C5 D#5  F5  F5 F#5 | G5-6 | -    |


Note the shuffle beat is straightened out for the 3+3+3+3+2+2 rhythm figure (compare this with the one in "Body Language").

PD. 2008 aug



Post was edited on 22 Oct 2008 05:28
1.angel 24 Aug 2008 10:32

Thanks for this, I like this song... I think there´s one more thing that should be mentioned about this song. Freddie repetively and very confidently hit there a very high note (using the chest register) I think it was D5... And when we look at the album News Of The World, there´s his then highest note recorded, C#4 in It´s Late... So at the time, he could sing much higher than ever before and this song is a nice evidence. I cannot imagine anyone else singing that song this way. Unbelievable.

2.Sebastian 24 Aug 2008 16:45

I did not see that coming!

Nice analysis, though I admit I've only heard the song once, so I don't remember anything.

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