Party

Composer:
Meter: 4/4
Key: C Major mixolydian, A Major mixolydian,
Form:

  | Intro I - II | Verse       | Instr. I-II-II'-II" |
                 | Verse' ext. | Instr. I - Outro

"Party" opens the Miracle album segued into Kashoggy's ship without which the track sounded very incomplete. The credits and the interviews give no information on the exact songwriting credits, but considering the formal and harmonic details we can assume the dominance of Freddie in the songwriting process.

Intro
The intro starts with two cycles of synth drum hook which keeps played with microscopic changes throughout the whole intro.
The vocal intro starts with an upbeat before the downbeat of m.5. The first 10 measure subsection has five acapella  phrases (A A'A"B (b) B) except the rhythm track. The first three of them is sung in tight harmonies (5-7-1) by Mercury, the last two in solo except an exho like subphrase (b).

m.5
/----- 3x ----\\
| G7   | -    |

/----- 2x ----\\
|      |      |

The next harmony blocks are sung mostly by May in multitrack harmony with himself. The pitch set here suggests C-mixolydian mode.

| C7   | -    | -    | -    |

Then we have a two block harmonies the first of which is also sung by Brian. It is simple parallel harmony with exclusively step motions and instrumental pedal bass on D. The pitch set suggests here D mixolydian (C=b7).

  3 + 3 + 3 + 3 + 4 = two measures
| F#  G   A   B   C | top
| D   E   F#  G   A | middle
| A   B   C   D   E | bottom 
| D   Em  D7  G  Am | "vertical" chords

The next one measure block of harmony steers the harmony away by three flattened notes compared to the previous block  (F, Bb, Eb). It is sung by more of them.

  3 + 3 + ...
| C   D   Eb | S
| A   Bb  C  | A
| F   G   A  | T
| F   F   F  | B
| F   Gm  F7 | "vertical" chords

We can see the whole intro is built around the  G7 > C7 > D > F7 chord progression where the chords change the modal center. Functional analysis does not really make sense in this an ambigous harmonic and modal environement thus no roman numerals.

Verse 1
We have two verses the first of which is much shorter. We have two variant phrases (4+5) with repetitive inner phrasing (AAB - AAAA'  1+1+2 + 1+1+1+2). The static harmony suggests a C-Major key with mixolydian mode. The arrangement is economic: drums and bass while the vocals are harmonized most of the time.

C:
| C   | -   | -7   | -7   |
| I...

| C   | -   | -    | -    | -    |
| I

The last subphrase is extended by using the 3+3+3+3 lick this time started on the 3rd beat:

1 2 3 4 1 2 3 4 1
    *  *  *  *  gtr

The second Verse starts with new phrases in A Major mixolydian. Vibraslap is hit on the opening downbeat. The bent harmonies in m7-8 are very interesting.

| A    | Em/G A |
| I    |  v   I | 

| A    | G   A |
| I    |bVII I |

| A    | -   | B >  C  | A   |
| I    | -   |II > bIII| I   |

After this starts a variant of the first verse modulating to C.
The second phrase is developed differently after the first 1-2 measures, but the harmony keeps dominated by the pumping pedal bass.

| C   | -    |

| C   | -    |

| C   | -    |

| C   | -    |

The 2nd, 3rd and 4th phrases rhytmically parallel eachother. The short vocal phrases are followed by guitar glissandos harmonized with harmonizer.
The section closes with vocal harmonies applyining the 3+3+3+3+4 pattern of punctuation.

   two measures
| C  C  Fsus4 F    | 


Instumental section
Following the  Verse we have a guitar-oriented section which starts with guitar power chords over pedal bass. The preceding verse still orients our ears to feel the harmony is in C but for just the first phrase.

| G5  | -   | F5/G | -    |
| V   | -   | IV...

From here the riffs vreat a G minor pentatonic modal feel. The main part of the section consists of three variant cycles of a guitar riff (with AAA'A" inner form) over pumping pedal bass. The second cycle adds octave harmonies, the third cycle features already three part guitar harmonies. Lots of stereo trickery is applied in the mix.

/---------- 3x ---------\\
| G*  | -   | -   | -   |

After the second verse we have a shorter version of this intrumental section this time in e minor pentatonic. This new tonal center is exposed by a four measure phrase with power chords and also by some Deacon-esque guitar picking.
Only one four measure cycle of the riff is played with always varying ending of the riff fragments.
The song closes with vocal harmonies segued right into the next track.

 3+3+3+3+4 = two measures
| E        | Edim/Bb

a short voice leading.

F# > G  > (G#)
E  > E  > (F )
B  > Bb > (C )

Kashoggys Ship starting on Fm