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Composer: Roger Taylor
Keys: e-minor, (D-major)
| Intro | Verse | pre-Chorus | Chorus | Bridge | Intro' | | pre-Chorus | Chorus'| Outro I (Intro') - II |
IILWMC is a hard rock song from the eclectic A Night At The Opera album. In the early days Roger was not a very versatile songwriter and wouldn't show influences of too many genres besides hard rock. Similarities with his earlier "Tenement Funster" (1974) are: alternate Verse (treated here as pre-Chorus), sections with the same chord progression, and the guitar riff with a 1-2-2-2 motif. The harmony is relatively straightaway; the chord progression follows the cliche-like i-III-VII-VI sequence (eg. Nirvana: "Polly").
It is square eight measure long exposition of what turns out to be the VII-of-i.
e: | D5 | - | - | - | - | - | - | - | | VII | - | - | - | - | - | - | - |
The arrangement features rhythm guitars, bass, lead guitar, piano, and drums. The piano figure uses six notes that are common in both D-major and e-minor. The lead guitar plays diatonic step-wise moving arch-formed figures.
Intro' adds oscillating two-part harmonies.
This twenty measure section has 8+4+8 phrasing. The arrangement is simplistic: strummed electric guitars play the chords and there's no lead guitar or piano.
| e | - | - | - | G | - | D | - | | i | - | - | - |III | - |VII | - | | C | - | - | - | | VI | - | - | - | | e | - | G | - | D | - | C | - | | i | - |III | - |VII | - | VI | - |
This section is not repeated, resulting a form with only one Verse. Pre-Chorus sections eliminate the need for more verses.
Pre-Chorus (or Verse 2)
This is similar to Verse 1, and one is tempted to treat it as an alternate verse, like we can see in other Roger's songs. This square 16-measure section is articulated by a lead guitar added.
| e | - | - | - | G | - | - | - | D | - | - | - | C | - | - | - |
It's "square" 18 measure long with AA' (8+10) phrasing. The arrangement drops the lead guitar fills and adds simple sustained vocal harmonies.
| e | - | G | - | D | - | C | - | | i | - |III | - |VII | - | VI | - | | e | - | G | - | D | - | C | - | - | - | | i | - |III | - |VII | - | VI | - | - | - |
The last two measures add motor noises, created by the Red Special.
Second Chorus has AA (10+10) phrasing. It adds two groups of backing-harmony cascades.
There is only one Bridge in the song, and it is the only section that breaks away from the cliche-progression.
The arrangement drops the vocal harmonies and adds lead guitar fills. The appearance of the Bb in the lead vocal in the second phrase creates a weak key-shift flavor along the B>C progression.
| B5 | - | - | - | | v | - | - | - | | C5 | - | - | - | | VI | - | - | - | | B5 | - | - | - | | v | - | - | - | | C | - | - | - | | VI | - | - | - |
It's a 18-19 measures long extended version of the intro. More motorbike noises are added and fade out is applied.
Is strummed chords for two guitars and drums. The rhythm is ad-libbed. The key is D-major with complete pitch set.
D: gtr1: | G/B | Asus4 | D | gtr2: | Aadd4 G/D | A/D D | | IV | V | I |