Some Day One Day

Composer: Brian May
Meter: 4/4
Key: A Major
Form:    

   Intro I (AAAA) - II (BB) | Verse (BB) / Chorus |
                      | AA | Verse      / Chorus |
                      | AA | Solo 1 (BBBB) |
                       | Verse      / Chorus'| Outro-Solo2 (BB-BB-BB-BB-BB-BB...faded out)

With its strummed guitars and cyclic ballad form this song is clearly folk-influenced, but the unique arrangement (guitar harmonies) saves it from sounding generic. Brian May's natural-ranged voice with fine vibrato fits the song.
The cycles consist of verse-chorus hybrid sections. There is two guitar solos, the first one in the third cycle, the second one serves as the outro. We have six chords, five of which is diatonic in context of the homekey: A-Major. The rhythm makes frequent use of 3+5 syncopation. The tuning of the guitar must be altered or capoed to A.

Intro
The intro, and the following cycles start with a strummed A chord - the tonic of the song. The two bar figure starts with 3+5 rhythm pattern, the second half has a built in stepwise figure: 8 > 7 > 6 > 7 (major sevenths).

/----- 4x ----
| A    | A*   |
| I    | -    |

The arrangement is thickening (see also "Keep Yourself Alive"). The third phrase adds percussion, the last one drums.

The second cycle opening re-intro adds drums and ascending scalar bass figure with minor 7th.
The third cycle opening re-intro adds a descending bass figure with (minor) pentatonic first half and chromatic second half. Drums enter only for the second phrase.


The second susbsection of the Verse introduces us the backing track of the verses. The arrangement is completed with bass. The symmetric figure featuring pedal bass throughout is repeated twice and adds lead guitar. The second melodic fragment of the lead guitar foreshadows the verse's tune. The phrasing is 4+4 AA'. The rhythm uses the 3+5 accents throughout.

/----------- 2x ------------
| A    | G/A  | -    | A    |
| I    | bVII | -    | I    |

The verses and the solos are also developed from this four measure figure.

Verse
Compared to the second subsection of the intro drops the lead guitar and adds two phrases of lead vocal (AA').


Chorus
Melody-wise the chorus is straight extension of the verse, but the harmony and the arrangement (added guitar harmonies) is contrasting enough to speak of a individual section. Also the lead vocal is in higher range. The 3+5 accents are still used. The first phrase is characterized by its lack of the tonic and a chain of thirds (sixths) in m.1-3. The second phrase is the title phrase ending unresolved in symphaty with the incomplete sentence.

| E  G  | Bm   | D    | C# E  |
| V bVII| ii   | IV   |iii V  |

| A G   | D    | (D)  |
| I bVII| IV   |  -   |

The second chorus adds vocal harmonies at the end.
The third/last chorus is extended with a concluding line of lyrics ("...you come home") and with just very loosely syncronized rising guitar "harmonies" (three guitars) that are carried forward in the subsequent outro-solo.

Solo 1
The backing track of the first solo repeates the intro-phrase four times. There are maybe four lead guitars with sustaining tone playing partly independently partly in harmony with eachother. The leading one first plays the intro hook, then another guitar takes over the leading role that also overlaps the first phrase of the last verse.


Solo 2
The outro solo is very similar in concept to the first solo. The leading guitar is probably semi-improvised, the other "lead" guitars are probably thoroughly improvised. After 12 cycles of the intro harmonic phrase the song fades out.