The Book

Introduction What is it all good for? Scope of work Project History

Music theory in nutshell Harmony Chord notation used in the analyses The degrees of notes Chord functions Keys, Sharps and flats, neighbour keys Guitar friendly and piano-friendly keys Modulations, key changes Parallel key modulations Relative key modulations Neighbour key modulations Combined modulations Step-up/down modulations Unusual modulations Key-shifts Pivot Modulation Borrowed chords Cliche chord progressions Modes Ambigous harmony Rhythms Exercies Syncopations Shuffle beat Metrical modulations, metrical anomalies Compound meters Disorienting Rhythms Songforms General aesthatics of popular and rock music

Repetitions and variants

Queen - The four of them as musicians Brian May Roger Taylor Freddie Mercury John Deacon

Songwriting Analyses Smile Ibex "No Synth" era Queen Keep Yourself Alive Doing All Right Great King Rat My Fairy King Liar The Night Comes Down Modern Times Rock'n'roll Son And Daughter Jesus Seven Seas Of Rhye Silver Salmon Hangman Mad The Swine Queen II Procession Father To Son White Queen (As It Began) Some Day One Day The Loser In The End Ogre Battle The Fairy Feller's Master-Stroke Nevermore March Of The Black Queen Funny How Love Is Seven Seas Of Rhye See What A Fool I've Been Sheer Heart Attack Brighton Rock Killer Queen Tenement Funster Flick Of The Wrist Lily Of The Valley Now I'm Here In The Lap Of The Gods Stone Cold Crazy Dear Friends Misfire Bring Back That Leroy Brown She Makes Me In The Lap Of The Gods... Revisited A Night At The Opera Death On Two Legs Lazing On A Sunday Afternoon I'm In Love With My Car You're My Best Friend Sweet Lady '39 Seaside Rendezvous The Prophet's Song Love Of My Life Good Company Bohemian Rhapsody God Save The Queen A Day At The Races Tie Your Mother Down You Take My Breath Away Long Away The Millionaire Waltz You And I Somebody To Love White Man Good Old Fashioned Lover Boy Drowse Teo Torriate News Of The World We Will Rock You We Are The Champions Sheer Heart Attack All Dead All Dead Spread Your Wings Fight From The Inside Get Down Make Love Sleeping On The Sidewalk Who Needs You It's Late My Melancholy Blues Feelings Jazz Mustapha Fat Bottomed Girls Jealousy Bicycle Race If You Can't Beat Them Let Me Entertain You Dead On Time In Only Seven Days Dreamers Ball Fun It Leaving Home Ain't Easy Don't Stop Me Now More Of That Jazz Live performances in the 70s Modern-era Queen The Game Play The Game Dragon Attack Another One Bites The Dust Need Your Loving Tonight Crazy Little Thing Called Love Rock It (prime Jive) Don't Try Suicide Sail Away Sweet Sister Coming Soon Save Me Human Body Sandbox Flash Gordon Flash's Theme In The Space Capsule Ming's Theme The Ring Football Fight In The Death Cell Execution Of Flash The Kiss Arboria Escape From The Swamp Flash To The Rescue Vultan's Theme Battle Theme The Wedding March Marriage Of Dale And Ming Flash's Theme Reprise Crash Dive On Mingo City The Hero Hot Space Staying Power Dancer Back Chat Body Language Action This Day Put Out The Fire Life Is Real Calling All Girls Las Palabras De Amor Cool Cat Under Pressure Soul Brother The Works Radio Ga Ga Tear It Up It's A Hard Life Man On The Prowl Machines (or 'Back To Humans') I Want To Break Free Keep Passing The Open Windows Hammer To Fall Is This The World We Created? I Go Crazy A Kind Of Magic One Vision A Kind Of Magic One Year Of Love Pain Is So Close To Pleasure Friends Will Be Friends Who Wants To Live Forever Gimme The Prize (Kurgan's Theme) Don't Lose Your Head Princes Of The Universe The Miracle Party Khashoggi's Ship The Miracle I Want It All The Invisible Man Breakthru Rain Must Fall Scandal My Baby Does Me Was It All Worth It Hang On In There Chinese Torture Hijack My Heart My Life Has Been Saved Stealin' New Life Is Born Dog With A Bone Guess We're Fallin Out Innuendo Innuendo I'm Going Slightly Mad Headlong I Can't Live With You Don't Try So Hard Ride The Wild Wind All God's People These Are The Days Of Our Lives Delilah The Hitman Bijou The Show Must Go On Lost Opportunity Face It Alone Self Made Man My Secret Fantasy Made In Heaven It's A Beautiful Day Made In Heaven Let Me Live Mother Love My Life Has Been Saved I Was Born To Love You Heaven For Everyone Too Much Love Will Kill You You Don't Fool Me A Winter's Tale My Life Has Been Saved It's A Beautiful Day (reprise) No-One But You Live performances in the 80s

Appendix Special instruments Special effects Special playing techniques Classical quotes Musical terms Index References

Path: Queen Songs - The Book - Songwriting Analyses - "No Synth" era - Jazz: Jealousy

Jealousy

Jealousy is a classic but obsucured piano ballad written by Mercury in his favourite keys (two and three flats). The modulation from g to Eb is a neighbour-type. The harmony is rich in both non-diatonic and inverted chords and chords where the bass is one step above the root of the chord articulated by the treble notes.
The piano accompaniment is combines block chords, broken chords, arpeggios, melodic fragments. The bassline is creatively played. There are no guitar harmonies and just three blocks of vocal harmonies.
The songform consists of two long cycles with the "usual" developments between them: a vocal break and an extension for the chorus similarly to "Leaving Home".

Intro:
The intro consists of two subsections. The first one is dominated by piano broken chords.

g:
| Gm | F | Csus4 | C |
| i | VII | IV | - |

The second one is dominated by a sitar-like acoustic guitar hook (the same that was used in "White Queen") built in the piano accompaniment as well. It consists of three phrases with the closing note getting higher (5 > 6 > 7). The choruses and the song itself also closes with this hook, where the bass also doubles the hook in simplified version.

Verse
The verse also has two subsections. The first one consists of two melodic phrases.

g:
| F | C6/F | Cm/Eb | |
| VII | IV | iv | |

| Gm | Gm7 | Bbm/Db| | Gm7 | - |
| i | - | iii | | i | - |

The second subsection seven measure long with three bars in 3/4, almost a case of the familiar 3+3+3+3+4 pattern. The Fm chord prepares the modulation to the key of Eb-Major.

| Fm7 | -    |
g: vii | -    |
Eb: ii | -    |

3/4     3/4    3/4   4/4
| Bb7 | -    | -    | -    | -    |
Eb: V | -    | -    | -    | -    |

Break
In the second cycle the second subsection of the verse is turned into a great rising vocal break with lots of tight dissonances. The underlying chords and phrase lengths are modified compared to the original ending of the verse.

Chorus
The chorus has two subsections both dominated by diatonic chords but we have also some borrowed ones: iv, bVII, vii the latter being the most unusual (see also in "Drowse"). The most interesting chord is and Abm chord with Bb in the bass (m.11).

| Eb | - | Cm | - |
| I | - | vi | - |

| Gm | - | F1 | Fm |
| iii | - | ii | - |

| Bb | Ab/Bb (>6)| Abm/Bb | - |
| V | IV | iv | - |

| Eb | - | Db/Eb | - |
| I | - | bVII | - |

The second subsection is 14 measures long plus the 7 measure sitar-guitar hook. Harmony wise m7-10 repeats m.3-6 which is interesting, becuase repeated harmonic fragmnets usually follow the harmonic phrases, unlike here.
We have a pivot modulation from Eb-Major to the neighbour g-minor.

| Ab | Gm7 | Cm | Bb -7|
| IV | iii | vi | V |

| Eb | Dm | Cm | Bb -7|
| I | vii | vi | V |

| Eb   | Dm   | Gm7 | -    |
| I    | vii | iii | -    |
    g: | v    | i    | -    |

| D/Gb | - |
g: V | - |

repeat intro hook

The second susbsection of the second chorus adds vocal backing harmonies in m.1-5 and m.13-15. This chorus is altered from the fourth harmonic phrase retarding the modulation to m.15-17 where the last phrase of the chorus is and the subsequent hook ending is repeated. Note the first chord of the phrase is Gm instead of Eb.

m.13
| D7/Gb | Bb7/F |
Eb: V/iii | V |

| Eb   | D    |
Eb: I   | vii |
g: VI   | V    |

| Gm | Dm | Gm7 | - |
g: i | v | i | - |

| D/Gb | - |
| V | - |

repeat intro hook

The repeated intro hook closes with a fermata for piano and bass, but the latter takes a further sequence of upward slides: 7 > 1 > 3 > 5.

| Fm | - |
Eb: ii | - |

| Abmaj7/Bb | Bb(6) |
| IV | V |

In m.3-4 of the second verse the piano line is tad different: Cm/Eb(8>7>6).

| Gm | - | - |
| i | - | - |

| Gm6 | - |
| i | - |

| Gm7 | |
| i | |