Read all 6 events for 16 October at diary.QueenSongs.info
Composer: Roger Taylor
Intro | Verse | Chorus I-II-III-II | Bridge I-I-Chorus II | | Verse | Chorus | Outro (Intro) (AAAAAAAAAB) |
This Taylor folksy ballad shows many of his characteristic features:
- Guitar arpeggio for the intro ("Tenement Funster", "Coming Soon")
- 3/4 meter ("I'm In Love With My Car", "Drowse", "Coming Soon")
- even slow harmonic rhythm
- the 1/8 based riff with a whole step leap
- machine talk ("Radio Ga-ga" "Machines")
- Intro alternating two chords in every two measures ("Drowse")
- and of course Roger's voice.
Intersetingly it was left off the Game album reportedly because it was considered to be too melodic (ie. not rocking enough). The songform consists of two cycles with recurring subsections. The Bridge ends with the same subsection as the Chorus. The harmony stays firmly in G Major with a few trick chords throwed in.
This is a simple guitar arpeggio figure doubled up (4+4 AA). It will appear in the beginning of the chorus. Bass plays E for the C chord. Roger enters with an "ooh" in m6.
/--------- 2x ----------\\ | G | - | C7 | - | | I | - | IV | - |
This is a simple section with square phrasing (4+4+4 AAB harmony-wise, 8+4 AB melody-wise). The only twist in the harmony is the choice of E chord (instead of Em = vi ) which is followed by not Am, and the harmony being open at both end.
| D | - | G | - | | V | - | I | - | | D | - | G | - | | V | - | I | - | | E | - | C | - | | VI | - | IV | - |
The chorus has an interesting inner structure. The first subsection sounds like a pre-chorus accompanied by the intro hook. It's phrasing is AA'B, 4+4+2. The the lead melody is harmonized, but the lead vocalists (Roger) enters only for the second phrase.
/--------- 2x ----------\\ | G | - | C7 | - | | I | - | IV | - | | G | - | | I | - |
The eighth measure (4+4) second subsection in fact belongs to the first. The separation is motivated only by the return of it at the end of both the chorus and bridge. Interesting points of the chord progression both the ii changing to its parallel Major chord (II) and the II chord resolving to IV instead of V.
| Am | - | A/C#| - | | ii | - | II | - | |Cmaj7| - | - | - | | IV | - | - | - |
The last phrase ends on the downbeat of the next subphrase.
This subsetion is 12 measures long (4+4+4, A A'A). The subphrasing is BBBC for each phrase where C is instrumental.
The lead melody is three part harmonized throughout.
| G | - | - | - | | I | - | - | - | | Am | - | - | - | | ii | - | - | - | | G | - | - | - | | I | - | - | - |
After this (III) subsection returns the II.
In the middle of the song we have a predictable Bridge with open harmony at both end (V...ii...IV). It has two subsections the second of which is repeating the first. The last one is borrowed from the chorus this time with hummed last phrase.
The first subsection has three phrases, the last of which is instrumental. It repeates a Rogers-esque riff four times. This riff was foreshadowed in the Chorus III subsection (those instrumental C subphrases)
| D | - | - | - | | V | - | - | - | | G7 | - | - | - | | I | - | - | - | | Am* | - | - | - | | ii | - | - | - |
The outro repeates the intro hook nine times then the tenth cycle closes on the downbeat. Tamburin is played throughout. The fisrt phrases can often be divided to two melodic subphrases the first of which is variants of the chorus. The last phrases have less lead vocals (some yeahs) and more sweet lead guitar fills