Read all 6 events for 16 October at diary.QueenSongs.info
Album: The Game
Composer: Roger Taylor
Key: G Major,
alternate interpretation: A Major, intro: D mixolydian Major,
Intro | Verse | Chorus I-II | | Verse | Chorus I-II-III| | Solo (Verse)| Chorus I-II-II-III |
- Simple form. Instead of Bridge we have a solo.
- Only six chords, all Major, no inversions (see also "Crazy Little Thing"). Due mixed modes we have function-wise intersesting harmony for both interpretation.
- The feel of G is reinforced by the intro starting with the tonic, having the basic three chord, moreover the song also closes on the tonic.
- The feel of D and A being the key is reinforced by the intro interpreted as being in mixolydian mode and its third phrase having a double plagal cadence (C > G > D as in "Crazy Little Thing"). Th Chorus II strongly sounds being in A Major.
- The guitar works consist of a simple power chord pumping and a lead guitar track with riffs and lead fills.
- Similarly the drum tracks consist of a simple monotone pumping beat (drum loop) and a "normal" but still simple drum track.
- Percussive flanged synth appears briefly in the last two choruses.
|No chord| - |
- Intro I: percussive. Flanged drums sound like a locomotive.
/---- 2x ---\\ | G | D | G:| I | V | D:| IV | I | | D | C | G | D | G:| V | IV | I | V | D:| I | bVII| IV | I |
- Intro II: Phrasing: 2+2+4=8 measures, square,
- Third phrase: double plagal cadence,
- Lead and harmony vocals by Roger only (3 parts),
| A | - | E | - | G:| V/V | - |V/V/V| - | A:| I | - | V | - | | C | - | G | - | G:| IV | - | I | - | A:| bIII| - |bVII | - | | A | - | E | - | G:| V/V | - |V/V/V| - | A:| I | - | V | - |
- phrasing: 4+4+4=12, square
- second phrase parallels the first chord-wise. The arch-shaped lead vocal is the same (three notes) as in the first phrase, but the switch of the mode in the harmony vocals makes it sound different. Third one is the same as the first, the lead vocal changes to talking bluesy.
- the borrowed chords attack the feel of tonal center.
- subtle changes in the arrangement verse by verse.
- lead vocal: two part harmony (Freddie multitracked)
- backing harmonies: the oooh-s are sung by Roger multitracked (3 parts).
- Bass guitar octave spikes rhythmically reinforce the rhythm guitar fills.
- Guitar solo: the position of the pentatonic scale shifts up for this phrase. The solo ends with hard to hear tremolo dive extravagancas.
I-II | D | - | G:| V | - | A:| IV | - | | A | - | - | - | G:| V/V | - | - | - | A:| I | - | - | - | | D | - | E | - | G:| V | - | VI | - | A:| IV | - | V | - |
| C | - | D# | - | G6 | - | G:| IV | - | bVI | - | I | - | A:| bIII| - | bV | - | bVII| - |
- All three choruses are form- and arrangement-wise different.
- Simple three chords except the extension with weak-tonality progression.
- III: It sounds cadentical arriving to G with a tonic feel. See also the add6 ending in "who Needs You" (and also in many swing-era songs).
- song-closing "yeah" is sustained for 10 seconds. Fermata ending in measure 15.
- I-II: Freddie leads, Roger is backing, in the third Chorus (title phrase) Freddie alone (?) sings the backing harmonies.
- III: more of them (probably just Freddie and Roger) sing in harmony.
- In the second Chorus-I Roger sings low harmony (see also in "Action This Day").
I: one long note,
III: octave spikes
- I : "they always...": syncopation:
1 2 3 4 1 2 3 4 1 *** *** *** *** : see this particular pattern also in "Death On Two Legs".
The second half of the intro is also similar rhythm-wise