Ride The Wild Wind

Composer: Roger Taylor
Meter: 4/4
Key: d-minor
Form:

       | Intro / Chorus ||
       | Verse | Chorus ||
       | Verse | Chorus ||
 | Solo (Verse)| Chorus || Outro I-II |

This song thematically and musically shows Roger's trademarks: ballad form ("...Days Of Our Lives") slow harmonic rhythm ("Im In Love With My Car"), foursquared phrasing, ambivalent tonality and other details. The arrangement is dominated by guitar, but bass, synth bass also . The drum track is probably looped. We have no guitar harmonies and hardly any vocal harmonies.

Intro
The song starts with guitar extravagancas, Brian imitating motorcycle noise.
The first chorus with its getting faster tempo and getting thickened arrangement is a part of the intro.

Chorus:
We have four choruses first of which is a part of the intro. We have seven four measure phrases. The melodic phrases start all with upbeat and are located around the down beat of the harmonic phrases. Phrases 1-2 are paralelling 3-4 and 5-6.
The tonality is not crystal clear. The overall homekey is Dm, but the start on C chord orients one's ear to interpret it as the tonic. We don't have a clear V > i establishment, but the closing is strongly supports the d-minor feel.

  | C   | -   | -   | -   |
d:| VII | -   | -   | -   |
C:| I...

  | Dm  | -   | -   | -   |
d:| i   | -   | -   | -   |
C:| ii...

| Bb  | -   | -   | -   |
| VI  | -   | -   | -   |

| F   | -   | -   | -   |
| III | -   | -   | -   |

| F/C | -   | -   | -   |
| III | -   | -   | -   |

| C   | -   | -   | -   |
| VII | -   | -   | -   |

| Dm  | -   | -   | -   |
| i   | -   | -   | -   |

There a Queen-esque vocal harmony glissando up in the fifth phrase. The last Chorus adds harmony vocal for the third phrase.

The F/C > C progression (I > V in context of the parallel Major (F) key) is familar from "Radio Ga-ga" (also "...Days Of Our Lives" in C-Major)

The rhythm track is holding a pause for the last phrase. Then we have an instrumental connector phrase prolonging the D bass with guitar playing along slowly ascending 2-3-4-5 scale using the technique called "unisono bend".

| Dm  | -   | -   | -   |
| i   | -   | -   | -   |

Verse
We have two verses plus an instrumental one for the solo. The harmony is colored with borrowed chords: IV and ii, the latter closing deceptively the section.

| Dm  | -   | -   | -   |
| i   | -   | -   | -   |

| C   | -   | -   | -   |
| VII | -   | -   | -   |

| Am  | -   | -   | -   |
| v   | -   | -   | -   |

| G   | -   | -   | -   |
| IV  | -   | -   | -   |

| Bb  | -   | -   | -   |
| VI  | -   | -   | -   |

| F   | -   | -   | -   |
| III | -   | -   | -   |

|Em(7)| -   | -   | -   |
| ii  | -   | -   | -   | 

| Em  | -   | -   | -   |
| ii  | -   | -   | -   |

The lead vocal is start softly and building up in intensity throughout the section. Similarly to the Chorus the melodic phrases are located with a centre around the first downbeat. The second half of the phrases are added stepwise moving figures.

The solo is built on the harmonic phrases of the verse. The fourth phrase features a triplet-driven ascending figure, shades of "Liar" and "Was It All Worth It". For the last phrase an oscillating (3-2-3-2... appoggiatura of Em) rhythm guitar part is fading in in symphaty with the oscillation (5-6-5-6...) of the lead guitar three octaves higher.

Outro
Throughout the outro the bassline is centered to D. For is 2-3 measures

| Dm | -  | -  | -  |

/-------- 2x -------\\
| Dm | -  | -  | -  |
title phrase whispered

| Dm |    |    |    |    |    |
"hey hey hey" and solo drum-line

| Dm | -  | -  | -  | -  | -  | -  | -  |
title phrase whispered

| Dm | -  | -  | -  | -  | -  | -  | -  |....
lead guitar track