Read all 6 events for 21 April at diary.QueenSongs.info
Son And Daughter
Composer: Brian May
Intro I-II (AA)| Verse (BABA) | Bridge |
AA | Verse | Bridge ||
AA | Outro
Intro I: end of Bridge
This song is relatively easy to put into the heavy metal genre with a touch of blues, probably influented by the Led Zeppelin. The main riff is very catchy, partly becasue it is repeated many (10) times perse.
The songform is simple cyclic except the instrumental coda.
The song has several extended versions live, demo and BBC that are partly famous for including a proto-version of the Brighton Rock solo.
The first subsection of the intro is the closing phrase of the Bridge. The vocal phrase fragments (three part harmony, all Roger) are altered with single note bass and guitar notes.
In the second half of the intro the main riff is played twice. This riff is pentatonic and syncopated and played on both bass and guitar. Throughout the song some fragments of it is played one octave higher.
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 : 4/4 beats
E G EAG E BD AGEA EG E D : tune of the riff
1 3 143 1 57 4314 13 1 7 : degrees
The riffs are opening the second cycle too and the "cycle" of the outro. There the riffs are preceded by four measure semi-instrumental filler altering E5 and D5 chords as in the "V" phrases of the verse.
The verse consists of two repeated vocal phrases (B) both followed by the main riff (A). The four measure vocal phrases are accompanied with a simple one measure guitar&bass figure repeated. Lead guitar fills are also added.
The bridge consists of four phrases the first three of which is has heavy bluesy beat. The fourth one is contrasting and tempts one to treat as a part of the re-intro.
| B5-6 | - | - | B5 A |
| V | - | - | V IV |
| F#3-4| - | - | F# G5 G#5|
| V/V | - | - | chrom. |
| A5-6 | - | - | A1 G1 |
| IV | - | - | 4th 3rd|
| Em7 | - | - | A |
| i | - | - | IV |
| E1 D5 | - | - | - |
| 1st VII| - | - | - |
The second bridge is added atmospheric varispeed guitar harmonies. The harmonies in the third phrase are falling almost canon-like (see also in "'39"). The pitch set is A mixolydian with an occassional C note (flat 3rd of A) and closing G# (major 3rd of E) in false relation with the Em7 chord.
The harmony of the outro is built on pedal bass pumping on B (5th of E) and varispeed guitar harmonies. In the first mesaures the individual guitar lines of the harmonies are stepwise moving wave-shaped and time-shifted compared to eachother. Later the guitar layers are simply oscillating between two notes. There is also a pentatonic improvised (ie. non-melodic) lead guitar played throughout the outro which is fading gradually out. The tempo is increasing in the fade out period.