Read all 4 events for 23 August at diary.QueenSongs.info
Get Down Make Love
Composer: Freddie Mercury
Meter: 4/4, 3/4
Key: eb minor pentatonic, G Major
Intro (AA) | Chorus (AA) | Verse (AAAA) | Chorus (AA) | Bridge |
| AA | Verse'(AAAAA) - Chorus (A) | Bridge |
| Interlude | Chorus (AA) | Bridge |
"Get Down Make Love" is one of the more experimental works of the band. The pscichadelia was not new by 1977. This kind of psychadelia can be associated with sexuality (what the lyrics suggest) instead of drugs. This experimentation was fueled by the mere joy of creating strange noises, no need to search for deep psychological reasons.
The arrangement is very fragmentary, very economic, full of tension, perfectly underscoring the unique mood of the song. The chorus and the verse is backed by the same riff which combines bass and piano. The repetitive backing is combined with always changing guitar and drum fills.
The Bridge is contrasting by having a normal rock backing track. We have another contrasting section: a psychadelic interlude which is place for extravagancas with a pedal controlled harmonizer.
The intro introduces us the main bass part of the main riff without the piano. Feed back guitar fades in and glissandoed down from Eb by using tremolo bar. The feedback creates an interesting parallel tenth harmony where the top and the bottom part are fighting with eachother for supressing the other. For the end of the intro drums also enter.
/--------------- 2x ---------------\\
| Eb1 | | Eb1 | |
| 1st | | 1st | |
Both chorus and verse are backed with the same four bar bass+piano motif. The chorus repeats it twice (XX'), the verse four times (YYY'Z)
| Eb1 Eb5 Db5 | (Db5) | Eb1 Db5 Ab5 | (Ab5) |
| i VII | - | VII iv | - |
Note the very first time the piano motif is tad different and in the verses the bass motif is also altered with some syncopations. The section (s) between the two bridges is a combination of verse and chorus. The first fragments of the antiphonal phrases are taken from the chorus but sung lower and harmonised in fifths. The second half of the phrases are verse-like, but completly re-melodized. Last (sixth) phrase is the second half the chorus phrase.
The pitch content is almost completly pentatonic (the bass plays 2nd degree (F) in the "Z" phrase)
The bridges modulate in the distant key of G Major. The lead melody is modally infected with blue (minor) thirds.
The backing track prolonges the G chord with sus4 in the even numbered bars.
/------ 3x ------\\
| G | -sus4 |
3/4 3/4 4/4
| G | G | - | G | |
In the second bridge the 3/4 bars are directly followed by the interlude where the 3/4 beat is carried forward.
The song closes with the third bridge with a complete ending.
After the second bridge we have a 40 measure long interlude featuring harmonizer wizardy. They were toying with harmonizer since the "Races" tour (the interlude of "The Prohets Song"). The sound effect is tad reminiscent of the "Whole Lotta Love" (Led Zeppelin), but not very much...
There is not much to be analysed here except the monotone drum beat pulsing slowly in three quarters abandoned for the last beats. As a by-product of the pitch shift of the the harmonizer (set to minor third) some diminieshed seventh chords and arpeggios are created.
A version of this interlude was included in the BBC version of "Its Late". In fact all versions (studio and live) were rather "different versions", never the same. Mood-wise the live Killers version oddly combines sexual and apocaliptic visions.