More Of That Jazz
Composer: Roger Taylor
Key: modally inflected E-Major
Intro (dAAAA) | Verse I (AAAA) - I' (AAA') | Chorus I-II |
| A | Verse I (AAAA) - I' (AA) | Chorus I-II |
| A | Montage - Chorus I' - outro |
This song is one of the most experimental works of the band, no wonder it was placed as the final track on the album.
The song may show a subtle new wave influence, but it'S hard to point out how exactly. Together with "Fun It" (and partly Figth From The Inside") this song foreshadows the ostinato hooks of the "Hot Space" era.
The formal design with two complete cycles that are followed by an odd montage that summarizes the Jazz album before closing it with the self-ironic "no more of that JAZZ" line.
The harmony is inflected with melodic b7th and b3rd moreover the bVI chord in the harmony. The lead vocal is deliberately not very melodic, and sung by Taylor. The bass line is simple due to the static harmony or vamping chords, it is used mostly in a rhythmical approach.
The intro is arranged in a thickening way (> "Keep Yourself Alive"). The first phrase features only the drums in solo (phrasing: 2+2 AA'). For the second phrase enters the guitar playing two arpeggiated seventh chords the first of which is the tonic of the whole song. This is the main hook of the song, referred as "A" in the upper form scheme. The transition from E7 to C7 chord is pushed to the eighth before the downbeat, which is rhythmically disorienting.
/---------- 4x ----------\\
| E7 | - | C7 | - |
| I | - | bVI | - |
Another rhythm guitar enters for the third phrase. This one plays the chords punctuated in synchron with the drums using the 3+3+2 pattern. The transition from E to C is pushed this time one quarter before the downbeat:
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
* * * * *
The third layer of rhythm guitars enters for the fourth phrase. This is an quickly oscillating riff where the top line descends chromatically in triplets, the bottom line is constant (> "Fun It").
The fifth phrase adds the bass paralelling the guitar power chords. This formula is kept played throughout the verses.
The verses keep repeating the three layered guitar work built up in the intro. After four cycles starts a new subsection, not really a new verse. Upon the repetitive backing track trere is a simplistic lead melody, dominated by only three notes: 1st, b3rd an b7th degrees taken from the minor pentatonic scale. The phrasing of the first verse is X X' X"ext - X Xext, 2+2+4 + 2+4. The last riff cycle is slowed down by using the 2+3+3+3+3+2 rhythm pattern for the chromatic high notes.
The third phrase of the second verse adds a simple guitar figure repeated five times. The second subsection of the second verse has a new first melodic phrase and shorter length (only three riff-cycles).
The chorus consists of two subsections. The first one is characterized by chromatic riff-work which is developed from the re-rhythmized slowed down riff variant that closed the verse. The bass keeps playing the punktuation of the verse. The harmony here lacks the Major tonic chord, which let the melodic b3rds steer the harmony toward the minor mode.
The subsection has three phrases each one is backed with parallel harmonies on the 1st 2nd and b3rd degrees. In the second chorus the first two these harmony blocks are omitted. The pattern of the two measure riff-blocks is ABCDCD.
The second subsection has two eith measure phrases. Harmony wise this is the most interesting part of the whole song. The functional harmony analysis is almost irrelevant in the first phrase, the lead vocal simply follows the root movement. The second subphrase sounds much more diatonic, with more possible interpretation of harmony. The section consists of:
| E | - | G# | - | D# | - | G | - |
| I | - | III | - | V/III| - |bIII | - |
| E5 | - | Am | - | C | - | G6 | - |
E: I | - | iv | - | bVI | - | bIII | - |
e: i | - | iv | - | VI | - | III | - |
a: v | - | i | - | III | - | VII | - |
The second chords of both phrases are pushed one quarter before the downbeat. The closing G6th chord is an ironic touch of jazz. Beside this there is also a dissonant b5 played as distorted natural harmonics on guitar (omitted in the second chorus).
Montage - outro
The montage is a kind f summarization of the album (at least what was done by that time of the recording). The quoted songs respectively: Dead On Time, Bicycle Race, Mustapha, If You can't Beat Them, Dead On Time, Fun It, Fat Bottomed Girls.
The montage starts abruptly on downbeat and fades to the outro which is a variant of the Chorus I. The riff-structure of the outro is changed compared to that of the Chorus I: ABCDABCDCD. The lead vocal returns for only the last four riff-phrases and closes with a passionate octave jump. The riff-work is closed with let-ring-throughuot guitar chords and the two further cycles of the chorus' bass motif (2*2 measures). Following the delayed closing words only the drums remain for two cycles (2*2 measures). The gradually stripping down arrangement is a mirror-image of the intro (> "Tequila" - Champs).