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PD: edit test07 Jan 2009 05:43

Title: Blag
Composer: Roger Taylor
Meter: 4/4
Key: modal E-Major, b-minor
Form:

Intro I - II - Build-up - III - Build up - IV |
     | Verse | Solo - link - Build Up | Outro |

Blag is songwriting-wise the least catchy and least worked out song off the six recorded Smile songs. The semi-official credit goes to Taylor, but May also had major share: the solo section is the proto-version of the Brighton Rock solo. We don't know much of Taylor's guitar skills in the eraly years, but by that time he already must have been familiar with basic chords and power chord style playing as well. The harmony and the form is somewhat too complex for a first song composed by a drummer, so a group effort is strongly expected.
Form-wise the song is quite irregular. We have a very long intro with lots of subsections. There is an odd vocal build up that is sung twice in the intro and once before the outro. There is only one verse.


Intro
The intro is a chain of several subsections. The song starts with drum figure of slowing down triplets closing with a guitar power chord that exposes the tonic. This power chord is repeated further two times closing with a tremolo dive. Then Roger on drums starts another rhythm groove that introduces the main hook of the song which is an ascending vocal build up outlining the E7 chord. First time it's acapella only drums are backing. The six voices enter one by one:

|E   |G#  |B   |D   |G#  |B   |
|1st |3rd |5th |7th |3rd |5th |

Both second and third build-up is backed with guitar power chords as well.
Back to the first one: it is closed with triplet closing that also closes the song. A.W.Pollack (in his notes on "I Want To Hold Your Hand") compared this effect to a slowing down locomotive. The song also closes with this figure.

| E5   | D5  A5 G1  | E5   |
| I    |bVII IV b3rd| I    |

The guitar starts another repeated one bar riff, that is backing the next vocal build up.

|D5-E5 D5-E5 |
|bVII-I      |

Rhythmically the guitar and the vocals creat contrasting syncopations:

1 2 3 4 1 2 3 4
**  *   **  *  : guitar
  *  *  *      : vocals

After the second buld up the music slows down, the backing track introduces the verse with blues scale pentatonic runs on guitar and bass. Just before the Verse starts the riff changes the another cliche-like syncopated figure
(see "Tequila" or "Sympathy For The Devil").


Verse
We have only one verse with square phrasing. The form is harmony wise ABBB', lyrics-wise ABCB. In the second phrase the rhythmic pattern of the guitar and bass slows down temporary to one played chord/note per bar. Then in the third phrase returns the previous beat pattern. Roger sings here a short additional vocals. The harmony modulates to b-minor. The tonic chord is prolonged while the bassline goes down and back. In m.7 and m.11 bass plays A in bass while guitar goes down to G. The concept of this chord/bass progression is reminiscent of "White Queen" backing up the rumour of that song was written in the Smile era. Considering that Taylor's first song and he probably had not mastered yet special chord/bass concepts by that time (who knows?), the credit of this gambit can be assigned to May. The sus4>3 resolution also apperas in "White Queen". The whole section closes with a Pickardy third (B instead of Bm) that leads the harmony back to E serving yet another crossreference to "White Queen".

|  E5   | D56   | G5   | F#sus4 F# |
E: I    | bVII  | bIII | V/V       |
               b: VI   | V         |

/------------ 2x -------------\
| Bm   | /A   | /G    | /A    |
b: i   | /7th | /6 th | /7th  |

| Bm   | /A   | /G    | F#sus4 F# || B
| i    | /7th | /6th  | V         || I!
                                  E: V

Solo
This is the first recorded version of the legendary Brighton Rock solo. There are some motifs that appear in later versions:
the chopped tremolo pickig on the low E string in m.1-4
The pentatonic ascending figure that leads to highers frets in m5...
... and te way it is followed by a bluesy solo figure over the 12th fret on the top strings in m.10.
The backing track is resting, drums enter for just a few beats.


The phrase-map contains the main notes transcribed. As you can see the basic pitch set is e-minor pentatonic.

| E       | E  A-E  |

| E D-E-G | B A-G-E |

| A-D D-G | B-D D-E |

| E-G A-E | A-D E-A |

| A-D D-G | "solo"  |

| E-D     | E-D     |

 5/4
| E   E-D | E  D-E  |

/-------- 2x -------\
| E       | E       |

| E       |

In m.13 we have a 5/4 measure, probably unintentionally generated.
After 19 bar the backing track completes with bass and drums, introcucing the verse last build-up.

PD. 2008 dec.

 



Post was edited on 07 Jan 2009 05:48
1.PD 16 Jan 2009 05:44

Title: Blag
Composer: Roger Taylor
Meter: 4/4
Key: modal E-Major, b-minor
Form:

Intro I - II - Build-up - III - Build up - IV |
     | Verse | Solo - link - Build Up | Outro |


Blag is songwriting-wise the least catchy and least worked out song off the six recorded Smile songs. The semi-official credit goes to Taylor, but May also had major share: the solo section is the proto-version of the Brighton Rock solo. We don't know much of Taylor's guitar skills in the eraly years, but by that time he already must have been familiar with basic chords and power chord style playing as well. The harmony and the form is somewhat too complex for a first song composed by a drummer, so a group effort is strongly expected.
Form-wise the song is quite irregular. We have a very long intro with lots of subsections. There is an odd vocal build up that is sung twice in the intro and once before the outro. There is only one verse.


Intro
The intro is a chain of several subsections. The song starts with drum figure of slowing down triplets closing with a guitar power chord that exposes the tonic. This power chord is repeated further two times closing with a tremolo dive. Then Roger on drums starts another rhythm groove that introduces the main hook of the song which is an ascending vocal build up outlining the E7 chord. First time it's acapella only drums are backing. The six voices enter one by one:

|E   |G#  |B   |D   |G#  |B   |
|1st |3rd |5th |7th |3rd |5th |


Both second and third build-up is backed with guitar power chords as well.
Back to the first one: it is closed with triplet closing that also closes the song. A.W.Pollack (in his notes on "I Want To Hold Your Hand") compared this effect to a slowing down locomotive. The song also closes with this figure.


| E5   | D5  A5 G1  | E5   |
| I    |bVII IV b3rd| I    |

The guitar starts another repeated one bar riff, that is backing the next vocal build up.

|D5-E5 D5-E5 |
|bVII-I      |


Rhythmically the guitar and the vocals creat contrasting syncopations:

1 2 3 4 1 2 3 4
**  *   **  *  : guitar
  *  *  *      : vocals

After the second buld up the music slows down, the backing track introduces the verse with blues scale pentatonic runs on guitar and bass. Just before the Verse starts the riff changes the another cliche-like syncopated figure
(see "Tequila" or "Sympathy For The Devil").


Verse
We have only one verse with square phrasing. The form is harmony wise ABBB', lyrics-wise ABCB. In the second phrase the rhythmic pattern of the guitar and bass slows down temporary to one played chord/note per bar. Then in the third phrase returns the previous beat pattern. Roger sings here a short additional vocals. The harmony modulates to b-minor. The tonic chord is prolonged while the bassline goes down and back. In m.7 and m.11 bass plays A in bass while guitar goes down to G. The concept of this chord/bass progression is reminiscent of "White Queen" backing up the rumour of that song was written in the Smile era. Considering that Taylor's first song and he probably had not mastered yet special chord/bass concepts by that time (who knows?), the credit of this gambit can be assigned to May. The sus4>3 resolution also apperas in "White Queen". The whole section closes with a Pickardy third (B instead of Bm) that leads the harmony back to E serving yet another crossreference to "White Queen".

 

|  E5   | D56   | G5   | F#sus4 F# |
E: I    | bVII  | bIII | V/V       |
               b: VI   | V         |

/------------ 2x -------------\
| Bm   | /A   | /G    | /A    |
b: i   | /7th | /6 th | /7th  |


| Bm   | /A   | /G    | F#sus4 F# || B
| i    | /7th | /6th  | V         || I!
                                  E: V

 

 

Solo
This is the first recorded version of the legendary Brighton Rock solo. There are some motifs that appear in later versions:
the chopped tremolo pickig on the low E string in m.1-4
The pentatonic ascending figure that leads to highers frets in m5...
... and te way it is followed by a bluesy solo figure over the 12th fret on the top strings in m.10.
The backing track is resting, drums enter for just a few beats.


The phrase-map contains the main notes transcribed. As you can see the basic pitch set is e-minor pentatonic.

 

| E       | E  A-E  |

| E D-E-G | B A-G-E |

| A-D D-G | B-D D-E |

| E-G A-E | A-D E-A |

| A-D D-G | "solo"  |

| E-D     | E-D     |

 5/4
| E   E-D | E  D-E  |

/-------- 2x -------\
| E       | E       |

| E       |

 

In m.13 we have a 5/4 measure, probably unintentionally generated.


After 19 bar the backing track completes with bass and drums, introcucing the verse last build-up.

PD. 2008 dec.



Post was edited on 17 Jan 2009 09:30
2.PD 18 Jan 2009 06:57

Title: Blag
Composer: Roger Taylor
Meter: 4/4
Key: modal E-Major, b-minor
Form:

Intro I - II - Build-up - III - Build up - IV |
     | Verse | Solo - link - Build Up | Outro |


Blag is songwriting-wise the least catchy and least worked out song off the six recorded Smile songs. The semi-official credit goes to Taylor, but May also had major share: the solo section is the proto-version of the Brighton Rock solo. We don't know much of Taylor's guitar skills in the eraly years, but by that time he already must have been familiar with basic chords and power chord style playing as well. The harmony and the form is somewhat too complex for a first song composed by a drummer, so a group effort is strongly expected.
Form-wise the song is quite irregular. We have a very long intro with lots of subsections. There is an odd vocal build up that is sung twice in the intro and once before the outro. There is only one verse.


Intro
The intro is a chain of several subsections. The song starts with drum figure of slowing down triplets closing with a guitar power chord that exposes the tonic. This power chord is repeated further two times closing with a tremolo dive. Then Roger on drums starts another rhythm groove that introduces the main hook of the song which is an ascending vocal build up outlining the E7 chord. First time it's acapella only drums are backing. The six voices enter one by one:

|E   |G#  |B   |D   |G#  |B   |
|1st |3rd |5th |7th |3rd |5th |


Both second and third build-up is backed with guitar power chords as well.
Back to the first one: it is closed with triplet closing that also closes the song. A.W.Pollack (in his notes on "I Want To Hold Your Hand") compared this effect to a slowing down locomotive. The song also closes with this figure.


| E5   | D5  A5 G1  | E5   |
| I    |bVII IV b3rd| I    |

The guitar starts another repeated one bar riff, that is backing the next vocal build up.

|D5-E5 D5-E5 |
|bVII-I      |


Rhythmically the guitar and the vocals creat contrasting syncopations:

1 2 3 4 1 2 3 4
**  *   **  *  : guitar
  *  *  *      : vocals

After the second buld up the music slows down, the backing track introduces the verse with blues scale pentatonic runs on guitar and bass. Just before the Verse starts the riff changes the another cliche-like syncopated figure
(see "Tequila" or "Sympathy For The Devil").


Verse
We have only one verse with square phrasing. The form is harmony wise ABBB', lyrics-wise ABCB. In the second phrase the rhythmic pattern of the guitar and bass slows down temporary to one played chord/note per bar. Then in the third phrase returns the previous beat pattern. Roger sings here a short additional vocals. The harmony modulates to b-minor. The tonic chord is prolonged while the bassline goes down and back. In m.7 and m.11 bass plays A in bass while guitar goes down to G. The concept of this chord/bass progression is reminiscent of "White Queen" backing up the rumour of that song was written in the Smile era. Considering that Taylor's first song and he probably had not mastered yet special chord/bass concepts by that time (who knows?), the credit of this gambit can be assigned to May. The sus4>3 resolution also apperas in "White Queen". The whole section closes with a Pickardy third (B instead of Bm) that leads the harmony back to E serving yet another crossreference to "White Queen".


 

Solo
This is the first recorded version of the legendary Brighton Rock solo. There are some motifs that appear in later versions:
the chopped tremolo pickig on the low E string in m.1-4
The pentatonic ascending figure that leads to highers frets in m5...
... and te way it is followed by a bluesy solo figure over the 12th fret on the top strings in m.10.
The backing track is resting, drums enter for just a few beats.


The phrase-map contains the main notes transcribed. As you can see the basic pitch set is e-minor pentatonic.


In m.13 we have a 5/4 measure, probably unintentionally generated.


After 19 bar the backing track completes with bass and drums, introcucing the verse last build-up.

PD. 2008 dec.

| E       | E  A-E  |

| E D-E-G | B A-G-E |

| A-D D-G | B-D D-E |

| E-G A-E | A-D E-A |

| A-D D-G | "solo"  |

| E-D     | E-D     |

 5/4
| E   E-D | E  D-E  |

/-------- 2x -------\
| E       | E       |

| E       |

|  E5   | D56   | G5   | F#sus4 F# |
E: I    | bVII  | bIII | V/V       |
               b: VI   | V         |

/------------ 2x -------------\
| Bm   | /A   | /G    | /A    |
b: i   | /7th | /6 th | /7th  |


| Bm   | /A   | /G    | F#sus4 F# || B
| i    | /7th | /6th  | V         || I!
                                  E: V

3.PD 18 Jan 2009 07:00
Deleted by PD
4.PD 18 Jan 2009 07:02
Deleted by PD
5.PD 18 Jan 2009 07:04

Title: Blag
Composer: Roger Taylor
Meter: 4/4
Key: modal E-Major, b-minor
Form:

Intro I - II - Build-up - III - Build up - IV |
     | Verse | Solo - link - Build Up | Outro |


Blag is songwriting-wise the least catchy and least worked out song off the six recorded Smile songs. The semi-official credit goes to Taylor, but May also had major share: the solo section is the proto-version of the Brighton Rock solo. We don't know much of Taylor's guitar skills in the eraly years, but by that time he already must have been familiar with basic chords and power chord style playing as well. The harmony and the form is somewhat too complex for a first song composed by a drummer, so a group effort is strongly expected.
Form-wise the song is quite irregular. We have a very long intro with lots of subsections. There is an odd vocal build up that is sung twice in the intro and once before the outro. There is only one verse.


Intro
The intro is a chain of several subsections. The song starts with drum figure of slowing down triplets closing with a guitar power chord that exposes the tonic. This power chord is repeated further two times closing with a tremolo dive. Then Roger on drums starts another rhythm groove that introduces the main hook of the song which is an ascending vocal build up outlining the E7 chord. First time it's acapella only drums are backing. The six voices enter one by one:

|E   |G#  |B   |D   |G#  |B   |
|1st |3rd |5th |7th |3rd |5th |


Both second and third build-up is backed with guitar power chords as well.
Back to the first one: it is closed with triplet closing that also closes the song. A.W.Pollack (in his notes on "I Want To Hold Your Hand") compared this effect to a slowing down locomotive. The song also closes with this figure.


| E5   | D5  A5 G1  | E5   |
| I    |bVII IV b3rd| I    |

The guitar starts another repeated one bar riff, that is backing the next vocal build up.

|D5-E5 D5-E5 |
|bVII-I      |


Rhythmically the guitar and the vocals creat contrasting syncopations:

1 2 3 4 1 2 3 4
**  *   **  *  : guitar
  *  *  *      : vocals

After the second buld up the music slows down, the backing track introduces the verse with blues scale pentatonic runs on guitar and bass. Just before the Verse starts the riff changes the another cliche-like syncopated figure
(see "Tequila" or "Sympathy For The Devil").


Verse
We have only one verse with square phrasing. The form is harmony wise ABBB', lyrics-wise ABCB. In the second phrase the rhythmic pattern of the guitar and bass slows down temporary to one played chord/note per bar. Then in the third phrase returns the previous beat pattern. Roger sings here a short additional vocals. The harmony modulates to b-minor. The tonic chord is prolonged while the bassline goes down and back. In m.7 and m.11 bass plays A in bass while guitar goes down to G. The concept of this chord/bass progression is reminiscent of "White Queen" backing up the rumour of that song was written in the Smile era. Considering that Taylor's first song and he probably had not mastered yet special chord/bass concepts by that time (who knows?), the credit of this gambit can be assigned to May. The sus4>3 resolution also apperas in "White Queen". The whole section closes with a Pickardy third (B instead of Bm) that leads the harmony back to E serving yet another crossreference to "White Queen".


 

Solo
This is the first recorded version of the legendary Brighton Rock solo. There are some motifs that appear in later versions:
the chopped tremolo pickig on the low E string in m.1-4
The pentatonic ascending figure that leads to highers frets in m5...
... and te way it is followed by a bluesy solo figure over the 12th fret on the top strings in m.10.
The backing track is resting, drums enter for just a few beats.


The phrase-map contains the main notes transcribed. As you can see the basic pitch set is e-minor pentatonic.


In m.13 we have a 5/4 measure, probably unintentionally generated.


After 19 bar the backing track completes with bass and drums, introcucing the verse last build-up.

PD. 2008 dec.

| E       | E  A-E  |

| E D-E-G | B A-G-E |

| A-D D-G | B-D D-E |

| E-G A-E | A-D E-A |

| A-D D-G | "solo"  |

| E-D     | E-D     |

 5/4
| E   E-D | E  D-E  |

/-------- 2x -------\
| E       | E       |

| E       |

|  E5   | D56   | G5   | F#sus4 F# |
E: I    | bVII  | bIII | V/V       |
               b: VI   | V         |

/------------ 2x -------------\
| Bm   | /A   | /G    | /A    |
b: i   | /7th | /6 th | /7th  |


| Bm   | /A   | /G    | F#sus4 F# || B
| i    | /7th | /6th  | V         || I!
                                  E: V



Post was edited on 18 Jan 2009 07:05
6.PD 24 Jan 2009 06:17

Title: Blag
Composer: Roger Taylor
Meter: 4/4
Key: modal E-Major, b-minor
Form:

Intro I - II - Build-up - III - Build up - IV |
     | Verse | Solo - link - Build Up | Outro |


Blag is songwriting-wise the least catchy and least worked out song off the six recorded Smile songs. The semi-official credit goes to Taylor, but May also had major share: the solo section is the proto-version of the Brighton Rock solo. We don't know much of Taylor's guitar skills in the eraly years, but by that time he already must have been familiar with basic chords and power chord style playing as well. The harmony and the form is somewhat too complex for a first song composed by a drummer, so a group effort is strongly expected.
Form-wise the song is quite irregular. We have a very long intro with lots of subsections. There is an odd vocal build up that is sung twice in the intro and once before the outro. There is only one verse.


Intro
The intro is a chain of several subsections. The song starts with drum figure of slowing down triplets closing with a guitar power chord that exposes the tonic. This power chord is repeated further two times closing with a tremolo dive. Then Roger on drums starts another rhythm groove that introduces the main hook of the song which is an ascending vocal build up outlining the E7 chord. First time it's acapella only drums are backing. The six voices enter one by one:

|E   |G#  |B   |D   |G#  |B   |
|1st |3rd |5th |7th |3rd |5th |


Both second and third build-up is backed with guitar power chords as well.
Back to the first one: it is closed with triplet closing that also closes the song. A.W.Pollack (in his notes on "I Want To Hold Your Hand") compared this effect to a slowing down locomotive. The song also closes with this figure.


| E5   | D5  A5 G1  | E5   |
| I    |bVII IV b3rd| I    |

The guitar starts another repeated one bar riff, that is backing the next vocal build up.

|D5-E5 D5-E5 |
|bVII-I      |


Rhythmically the guitar and the vocals creat contrasting syncopations:

1 2 3 4 1 2 3 4
**  *   **  *  : guitar
  *  *  *      : vocals

After the second buld up the music slows down, the backing track introduces the verse with blues scale pentatonic runs on guitar and bass. Just before the Verse starts the riff changes the another cliche-like syncopated figure
(see "Tequila" or "Sympathy For The Devil").


Verse
We have only one verse with square phrasing. The form is harmony wise ABBB', lyrics-wise ABCB. In the second phrase the rhythmic pattern of the guitar and bass slows down temporary to one played chord/note per bar. Then in the third phrase returns the previous beat pattern. Roger sings here a short additional vocals. The harmony modulates to b-minor. The tonic chord is prolonged while the bassline goes down and back. In m.7 and m.11 bass plays A in bass while guitar goes down to G. The concept of this chord/bass progression is reminiscent of "White Queen" backing up the rumour of that song was written in the Smile era. Considering that Taylor's first song and he probably had not mastered yet special chord/bass concepts by that time (who knows?), the credit of this gambit can be assigned to May. The sus4>3 resolution also apperas in "White Queen". The whole section closes with a Pickardy third (B instead of Bm) that leads the harmony back to E serving yet another crossreference to "White Queen".


|  E5   | D56   | G5   | F#sus4 F# |
E: I    | bVII  | bIII | V/V       |
               b: VI   | V         |

/------------ 2x -------------\
| Bm   | /A   | /G    | /A    |
b: i   | /7th | /6 th | /7th  |


| Bm   | /A   | /G    | F#sus4 F# || B
| i    | /7th | /6th  | V         || I!
                                  E: V

 

Solo
This is the first recorded version of the legendary Brighton Rock solo. There are some motifs that appear in later versions:
the chopped tremolo pickig on the low E string in m.1-4
The pentatonic ascending figure that leads to highers frets in m5...
... and te way it is followed by a bluesy solo figure over the 12th fret on the top strings in m.10.
The backing track is resting, drums enter for just a few beats.


The phrase-map contains the main notes transcribed. As you can see the basic pitch set is e-minor pentatonic.


| E       | E  A-E  |

| E D-E-G | B A-G-E |

| A-D D-G | B-D D-E |

| E-G A-E | A-D E-A |

| A-D D-G | "solo"  |

| E-D     | E-D     |

 5/4
| E   E-D | E  D-E  |

/-------- 2x -------\
| E       | E       |

| E       |

In m.13 we have a 5/4 measure, probably unintentionally generated.


After 19 bar the backing track completes with bass and drums, introcucing the verse last build-up.

PD. 2008 dec.

7.PD 24 Jan 2009 06:20

Don't Stop Me Now
Composer: Freddie Mercury
Meter: 4/4
Key: F-Major
Form:
        Intro | Verse | Chorus |
              | Verse | Bridge |
         | Solo/Verse | Chorus | Outro (Intro)

"Don't Stop Me Now" is a great driving piano rock. The seemingly simple song (in terms of arrangement and form) is full of clever details that are well beyond the usual rnr songwriting. The most interesting details are the uneven phrasing, relatively non-repetitiv long lead melodies, the syncopations and the way how the phrases of the Verse and chorus are developed from the intro (or vica versa as for example in "Teo Torriate"?).
In contrast with the syncopations the drum work is quite simple and invariant throughout.
The harmony uses mostly the standard chord set of the homekey plus some secondary dominants, chord inversions,  sevenths and simple step-wise figures built in the piano accompaniment (m.4-5).
The form shows mainly three cycles of Verse - Chorus the second cycle featuring a bridge (break) instead of chorus. The guitar solo is placed in the first half of the third verse.


Intro:
The song starts with a long intro in slower pace then the rest of the song. The accompaniment is just piano until the second phrase where the bass joins in. The tempo speeds up qickly from the midle measure of the last phrase on.
The last two phrases are sung in harmony in staccatto mode except the last syllables. This 15 measure intro is a great example for uneven phrasing: 5+3+2+2+3, A B C D D-ext.

F:
| F   | Am   | Dm   | Gm   | C    |
| I   | iii  | vi   | ii   | V    |

| F   | F7/A  | Bb   |
| I   |V of IV| IV   |

| Gm7 | D7   |
| ii  | V/ii |

| Gm F C | Gm   |
| ii I V | ii   |

| Gm F C | Gm(7)| C7   |
| ii I v | ii   | V    |

Measure 2-6 show a five - piece diatonic chain of fifths (Am to C see aslo "Lover Boy") .
The rhythm features some pre-downbeat emphases. The beat map of the first phrase:

  1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1
 ***  *****    *** *   ****  * * *      ***

Thr fourth phrase (and also the most of the title phrases) in this song:

1 2 3 4 1 2 3 4
*  * * *

Mercury's use of special singing effects deserves a closer look many slided notes, some vibratos, short falsetto singing.

Verse:
The verse and the chorus is developed from the intro in a rather clever way.
The phrasing 5+5+3+3+2+2, A A' B C'-E E' F where the "E" phrase is the extension of C' melodic phrase ("call me...").

/-------------- 2x ---------------\
| F   | Am   | Dm   | Gm   | C    |
| I   | iii  | vi   | ii   | V    |

| F   | F7/Eb| Bb   |
| I   | V/IV | IV   |

| Gm7 | D7   | Gm   |
| ii  | V/ii | ii   |

|D7/F#| Gm   |
| V/ii| ii   |

| F  F  F  F | G          | : Top/Lead
| D  C  D  D | E          | : Middle
| G  A  Bb B | C          | : Bass
| Gm7...     | C          | : chords

 

The second phrase closes with 3+3+3 syncopations. The beat map of the lead vocal:

1 2 3 4 1 2 3 4 1
*  *  *  * *** *

The first verse adds bells in the last measure. The second phrase of the second verse adds an explosive vocal harmony underscoring the lyrics ("...explode"). This sonic explosion is achived by the harmony extending and rising:

(F  F) F   G  A  Bb C
 Bb C  D   E  F  G  A
 Bb A  Bb...
 G  A  Bb  C  D  E  F

The first half of the verse following the break is occupied by the guitar solo that doesn't stop when the lead vocal returns but keeps adding fills.


Chorus
The chorus also borrows melodies from the intro. The phrasing is 4+4+2+2+3, G G' D D H. The harmonized first half of the G phrase rhythm-wise parallels, melody-shape-wise mirrors the other title (D) phrases. The last melodic phrase also parallels the E phrase.


| F Gm Am | Dm   | Gm   | C    |
| I ii iii| vi   | ii   | V    |

| F Gm Am | Dm   | Gm7  | D7   |
| I ii iii| vi   | ii   | V/ii |

| Gm F C | Gm   |
| ii I V | ii   |

| Gm F C | Gm   |
| ii I v | ii   |

| C    | Bb11  | -    |
| V    | IV    | -    |

The last phrase ends with the familiar 3+3+3+3+4 rhythm pattern. The last chorus closes differently: it abruptly slows down and adds harmony vocals. Two resolution of borrowed notes (ie. flat-3rd an flat-7th) results in special flavor to the plagal cadence more exposed than in the previous choruses (Bb11 > F).

F > F : lead vocal
Eb> C : harmony vocal
C > A : harmony vocal
Ab> A : harmony vocal
Bb> F : bass guitar

Beside the flat-7th (Eb) we Freddie sings a flat-3rd (Ab) as well.


Bridge (Break)
The second verse is followed by a bridge setting the tonal center to the dominant chord (C or c). The lead melody uses flat 7th in contrast with the the hard to hear harmony vocal (better heard in 5.1 and the karaoke mix) in both last two phrases uses natural 7th (E-nat).
The accompaniment of the bridge stripped down to drums exposed in a two measure "intro".

...|(C)   |     |

| C1   | -    |
| 5th  | -    |

| C1   | Eb  Dm Cm |
| 5th  |bVII vi v  |

| C3   | -    |
| V    | -    |

| C3   |      |
| V    |      |


In the live versions the break was extended with mostly instrumental passages.


Outro
The outro is a close variant of the intro shortened to three phrases. The "wordless lyrics" and the fade out combined create a nice romantic feel. The live version of course uses complete ending instead of the fade out. For the third phrase the guitar takes over the leading. The chord progression is closed with a Piquardy third, but it sounds rather like a brief modulation to G.

m.9
| Gm7 | D    | G   |
| ii  | V/ii | II  |
G:    | V    | I   |

PD. 2006 sept.

8.Sebastian 24 Jan 2009 17:17

I don't quite understand what you're doing there...

9.PD 25 Jan 2009 06:25

I had editing problems with the harmony blocks. Libor updated a new versinon for me, and it works as the last test post shows..

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