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Key: F Major
| Verse 1 (AA-AA) | Bridge 1 | | A | Verse 2'(AA-AA) | Bridge 2 | scat singing | | connector | Bridge 3 | Coda (BBBBBB'B") |
The song starts "in medias res" as the instant answer for "Party". We have two seemengly normal Verse-Bridge cycles followed by acyclic series of sections with yet another Bridge-like section and a coda. The seemengly normal cycles consist of verses and bridges with almost completly altered lead melody material. Remember we have seen this gambit first from Roger, but this is the first and only time when it is applied for two individual sections.
The harmony of the backing track is repetitive and features lots of power chords.
The 16 measure verse has foursquared phrasing (harmony wise AAA'A, melody-wise ABAB) and three chord harmony. In the first verse the melodic minor thirds create a minor tonic but the harmony is closer to Major with modal infection. Note the second verse features already Major thirds. The tonality is not chrystal clear, Bb-Major is also a possible choice as home-key.
F!: /------------ 2x ----------\\ | F5 | - Eb | Bb | - | | i-I | - bVII| IV | - | | F5 | - Eb | Bb | - Eb | | i-I | - bVII| IV | - bVII| | F5 | - Eb | Bb | - | | i-I | - bVII| IV | - |
At the end of the first phrase Brian plays a short lead guitar fill in fast triplets. The second Verse is preceded by an instrumental harmonic phrase which also closes with a similar guitar fill.
The melody is completly changed for the second verse, but the phrasing is similar: A'A'A'A' chord-wise, CDCD' melody-wise.
Bridge 1, 2
We have two 16 measure Bridges with the same repetitive chord progression and altered lead melody until m.11. Bass plays arch-shaped figure during m1-8. The sus4 chords are really reminiscent of Brian's D/A lick provoking the suspect of May using alternate tuning (Eb). The functions are not very convincing thus they are omitted this time.
/----- 4x ------\\ | Ab | - sus4 | | /----- 2x -------\\ | Bb | - Eb/Bb |
In the last four measure phrase the lead vocal is accompanied with chromatic guitar riff (shades of "Hang On In There") which is hard to transcribe rhythm-wise, just give it a try before looking into the beat map transription below.
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 * * * * * * ** * * ** * * *
The second cycle goes with one microscopic change:
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 ...** ** *...
After the second cycle we have a eigth measure phrase of scat singing accompanied by spare rhythm section and bass joined by galopping guitar "pizzicato" from m.3 on. The loud rock music returns for the last two measures with drums.
| F1 | Eb1 | Bb1 | - | F1 | - | | | | 1st | b7th | 4th | - | 1st | - | | |
The bridge is preceded by instrumental mini-section with guitar chords.
| C | - | Bb6/C | - | | V | - | IV | - | | C | - | Bb/C | -maj7 | | V | - | IV | - | |V of Eb| - |
We have a relatively expectable bridge after two cycles, but it is not related with the first two ones and is not followed by any more cycles. The harmony of the double-phrase section is a line-cliche that is built on a prolonged Eb chord (bVII) combined with chromatic ascending inner voice creating lots of harmonic tension with the stepwise moving lead vocal.
| G | F | Eb | F | G | F | Eb | F | : lead vocal | Bb | - | B | - | C | - | Db | - | : inner voice | Eb | - | Eb+ | - | Cm/Eb | - | Eb7 | - | : chords | bVII|
The coda is built on repetitive riff-phrases. Lots of ad-lib vocals by Freddie.
/------------ 5x --------------\\ | F* | - | - | Bb5 Ab5 | | I | - | - | IV bIII |
Preparing the ending the sixt phrase is extended to five measures by repeating the fourth:
| F* | - | - | Bb5 Ab5 | Bb5 Ab5 | | I | - | - | IV bIII | IV bIII |
The last phrase ends with lead vocals joined by harmony vocals for the last measure.
| F* | - | - | Bb5 Ab5/Bb| - | Bb7 | | I | - | - | IV | - | - |
After a very last run of the riff-fragment the song ends with a flangered fermata chord starting on the second beat:
| F* | F5 | | I | - |