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PLEASE NOTE THAT THIS FORUM IS TAKEN FROM PREVIOUS VERSION OF QUEEN SONGS SITE.
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PD: Silver Salmon08 Sep 2008 05:58


Title: Silver Salmon
Composer: Unknown
Meter: 4/4 or compound (3+3+3+3+2+2)/16
Key: e-minor
Form: Intro | Verse AA - Chorus B  ||
            | Verse AA - Chorus BB || Bridge I-II | Coda - Outro |



This demo track was supposed to be originally a Smile composition, but Tim Staffel could not confirm this. The style of the song is pure heavy metal. The form is assymetric as the verse-chorus sections don't return after the contrasting bridge anymore.
The rhythm department makes heavy use of the 3+3+3+3+2+2 pattern still the 4/4 feel stays strong. The transcription will use double-bars as one, in order to handle the 3+3+3+3+4 patterned double bars as one.
The harmony makes use of power chords and the pitch set of the lead melody suggests a minor key.


Intro
The recording starts with a double-bar riff exposing the tonic.

| E5   |
| i    |


Verse
We have two eigth double-bar verses with AA phrasing. There are minor changes in the linking power chord figures.

| E5  G5 B5 | A5      | D5  C5 B5 | E5  C5 B5 |
|  i...     | iv      | VII...    | i         |



| E5     A5 | A5   C5 | D5  C5 B5 | E5        |
| i...      | iv...   | VII       | i...      |



Chorus
Both verses are followed by a chorus of four double-bars, the second one being doubled in length with incoplete lyrics.

| D5    | E5    |
| VII   | i     |

| D5    | E5    |
| VII   | i     |



Link
There is a two double-bar instrumental link following both cycles. Inner form is AA' AAAB in the first and second link respectively, where B is a fermata ending.

| E5  C5 B5 | E5  G5 B5 |




Bridge
We have traditional bridge where the contrasting elements are: full triad chords, major chords, only guitar, no 3+3+3+3+4 pattern (double bar mode off).
The metric frame is blurred here, hence the trascription is written phrase by phrase.

| Em D  B |
| i VII V |

| C   G  Am7 D  |
| VI III iv  VII|
          D:


The ending on D exposes the modified tonal center for the next subsection, which could be transcribed as a coda. The backbone of the section is the I-bVII vamping. The two bar figure is repeated nine times in row. Mercury sing semi-improvised ad-lib phrases throughout.


/------ 9x ------\
| D5 E5 | D5 *  |



After the repetition the harmony returns to the homekey, and also the 3+3+3+3+4 beat in the drumline (double-bar mode on).

| D5    | -  G5 B5 | E1   G5 B5 | E1   G5 B5 |



Outro
For the final bars the guitar reprises the 3+3+3+3+2+2 beat for only one double-bar. The
closing double-bar has some metallic tremolo picking on E-string, and a treble lead guitar fill providing a weird non-root ending for the song.

| E1   G5 B5 | E1   G5 B5 | E1     B1 G1


PD. 2008 aug-sept.



Post was edited on 08 Oct 2008 05:52
1.Sebastian 08 Sep 2008 13:34

Having heard the song only once, I cannot remember it, so no idea about the analysis per se. I think Brian confirmed it'd been written by Tim.

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