Fight From The Inside

Composer: Roger Taylor
Meter: 4/4
Key: E Major with modal inflection.

| Intro I-II (A) | Verse (ABBBBB) | Chorus (CCC'C'C') | Bridge (DDD) | Chorus (CC) |
            | A  | Verse          | Chorus            | Bridge       | Chorus (CC) - Tag x 2 |

This is one of Taylor's "protest" songs. The arrangement is Very heavy, Roger plays all the intruments including the fuzzy toned bass and sings all vocals including the harmonies. (see also the song "Sheer Heart Attack" and also his first solo album where he played all the instruments as well)
The songform consists of two long cycles with recurring chorus phrases at the end of both cycles (see also "Human Body"). The harmony is articulated by repeated riffs with lots of flat-7ths and flat-3rds which is a heavy metal trademark.

Intro I-II:
The first part of the long instrumental intro consists of four measure phrases (XYY'Z) with lots of weird guitar sounds: fret noises, rack noises, plectrum scratching (at least three guitartracks: middle, left, right), bass slides. The harmonic content is economic. The last measure with a bass riff introduces the second part of the intro which is the four measure opening riff of the verses. The second cycle is also introduced by this instrumental riff.

| E1 | -  | -  | -  |

/-------- 2x -------\\
| E7 | -  | E1 | -  |

| E* | -  | -  | -  | 

The two 24 measure verses consists of six phrases. The sequence of guitar riffs: ABBBBB

The 'A' figure:
| E*  | -   | -   | -   | 

"B" figure:
| D5>E5* | -   | -   |F#5>G5 E1 |

The "A figure is a tipical catchy "classic rock" riff with dotted rhythmized bass. The B riff is a combination of minor mode pentatonic figures and simple powerchord figures with a whole step upward leap (Taylor trademark) .
The melodic phrasing of the first verse P Q R R' inst. R", the fifth phrase being instrumental. The opening P phrase is sung in harmony. Note it uses both minor and Major thirds respectively.
The second verse uses more variants, the biggest change is the instrumental phrase displaced to the end of the section.

The chorus consists of five two measure phrases. The sequence of the riffs: C C C' C' C'. The melodic phrasing:

figure C:
| D   |D>E   |
|bVII |  I   |

figure C':
| A  D  |D>E   | 
|IV bVII|  I   |

After the bridge the chorus returns shortened to two phrases (M'M).
In the second cycle this shortened chorus is extended by longer prolonged chord and two tag phrases. The timing of the chords suggest an asynchronity between the melodic and harmonic phrasing creating and off-beat "harmonic rhythm" (no chord change though).

| D   |D>E  | -   | E   |
|bVII |  I  | -   | I   |

| (E) | E   | -   | E   |  
| -   | I   | -   | I   | 

| (E) | E   | -   |     |  
| -   | I   | -   |     |

The song ends with aggressiv guitar noises.

This three phrase 12 measure section puts the center of the harmony to the subdominant chord (A).
The riffs feature again the whole-step upward leap motif.

Figure "D":
| G5>A5| -    |  - C5 |... G5 |
|    IV| -    |bIII/IV|bVII/IV|

We have three phrases with static two part dissonant harmony (7th and 9th) sung by Roger. The rythm guitar track features some momentary hocket fragments especially in the second cycle.