Doing All Right

Composer: Tim Staffel & Brian May
Album: Queen I
Meter: 4/4
Key: E-Major

      Intro (AA) | Verse (AAA') -  Chorus | 
                 | Verse        -  Chorus |
                 | BB | Bridge (BBBBCCCDD)|
                 | BB | Bridge' BBBB'     |                  | Break (EE )  | Solo 1 (E'E'- FF) | Link |              | A | Verse        -  Chorus |                  | Break (EE)   | Solo 2 (E'E'E'E'- FF) | Outro I (Chorus') - II |

This was the only Smile song that was both recorded and released as a Queen song. With its sharp changes form-wise it is remarkably progressive in context of its time (1968-69). On the other hand beside the breaks and solos the song has a traditional ballad form with a mini (one phrase) Chorus.
The accompaniment of the whole song is very riff-centric, which is a hard rock influence.
The homekey is E-Major which is inherited from the Smile-version where guitar played the main hook with pedal bass on low E string.
The mixing of the backing track is assymetric: lead guitar and piano in the two opposite stereo channels. This asymmetry was rarely used on later albums (eg. "Who Needs You").

The intro exposes the main hook of the Verse.

The 16 measure Verse can be parsed to three arch-shaped melodic phrases (AAA'). The harmony is based on the four measure main hook of the song. We don't know about the specific songwriting details, but this hook is expected to have been created by Brian May because it features one of his lasting trademarks: the harmony relies on the combination of pedal bass and parallel sixth motion of inner voices. See also: "Las Palabras...", "Hammer To Fall", "One Vision", "Mother Love".
The main hook is altered for the third phrase with some chromatic descending motions.

/----------- 2x ------------\\
| G#   | A    | B    | A    | inner voice
| B    | C#   | D#   | C#   | inner voice
| E    | E    | E    | E    | bass
| I    | IV   | "V " | IV   |

| G#   | A    | G#   | G         | inner Voice
              | D    | C#        | inner voice
| B    | C#   | B    | A#        | inner voice
| E    | E    | E    | E         | bass
| E    | A    | E7   |A#halfdim7 | chords
| I    | IV   | I7   | chromatic |

| E    | B    | A    | -    |
| I    | V    | IV   | -    |

The first Verse is arranged for piano and bass. Both second and third Verse adds sweet clean toned lead guitar fills.

The chorus can be threated as a tag of the Verse. The melodic phrase (the title phrase) of the chorus phrase is located in the last measure of the Verse and ends on the downbeat of the harmonic phrase (see also "Crazy Little Thing..."). The harmony is a variant of the main hook: in the first three measures it uses the same inner voices, but the bass is walking upwards this time.

| E   | F#m  | G#m   | A    |
| I   | ii   | iii   | IV   |

In the third cycle the bass is more melodic.

Bridge (BB)
After the second cycle we have a sharp change on more levels. The key abruptly changes to D Major, the instrumentation is stripped down to a solo acoustic guitar. The section starts with a inner introduction exposing the two measure hook of the next subsection. It subtly changes each time it is played.

/----- 2x -----\\
| D     | G  A |
| D  C# | B  A | :bass
| I     | IV V |

The off-beat rhythmic motif during the most of the Bridge and the Break with the "BIG" riff:

1 2 3 4 1 2 3 4
**** * * * *

Bridge I
The first two melodic phrases (X) are arch-shaped and include two of the hooks each:


The next two melodic phrases are similarly backed with two two measured guitar figure. The pitch set (considering the harmonies on the Smile version) and the chords suggest a short lived modulation to E Major.

| E    | A    | E   |  A   |
| I    | IV   | I   |  IV  |
| E    | A    | Bb...
| I    | IV   |

The second melodic phrase closes with Bb > A melodic and chord progression suggesting a modulation to d-minor. Again we have a repeated guitar hook backing it. The second phrase is a variant of course, and closes with fermata.

/----- 2x ----\\
| Bb   | A    |  
| VI   | V    |

Here returns the guitar hook in D-Major for six cycles where the first two is instrumental the reamining four is backing two variant melodic phrases. This time the bass is providing an ascending couterpart for the descending top-voice of the guitar hook.

/----- 2x2 -----\\
| D     | G  A  |
| D  F# | G  A  | : bass
| I     | IV V  |

The second melodic phrase ends with a descending scalar bass figure (D mixolydian or E-aeolian) starting on D arriving on E. This scale introduces the explosive "BIG" riff (guitar and piano), with the curious chord progression with chromatic descending inner voice:

| E  D# | D   C# | : inner voice
| E  B  | D   A  |
| I  V  |bVII IV |

Solo 1
The BIG riff is played twice with the same off-beat rhythm as the "B" guitar figure, then for further two cycles its rhythm is simplified to 3+5 and is joined by lead guitar.
The remaining part of the guitar solo can be divided to three phrases (4+4+4, ABB).

| E   | -   | -   | -   |

/-------- 2x --------\\
| 3+3+3+3+3+3+3+3+12 = 36/8 = 14/4
| E A E D E A E D E  |

The pitch set o f the solo shows mixed modality featuring bVII chord (D), b7 and both 3 and b3 degrees (D, G#, G respectively).

After the impulsive solo a four measure link settles down the song for the placid Verse. Its harmony is a variant of the main hook with pedal bass and three part vocal harmonies:

| E   | F#/E  | Emaj7 | A/E  |
| I   | ii    | I     | IV   |

Solo 2
After the placid third cycle of Verse-Chorus the noisy BIG riff returns once again providing a sharp change. The backing of the Solo 2 is a variant of the first with altered phrasing AAAA-B-CC instead of AA-B-CC.

Outro I-II
The second solo is followed by a settle down connector. Its harmony:

| E   | B   | A   | -   | 
| I   | V   | IV  | -   |

The following vocal harmony shows a very nice example for voice leading. The individual parts move step-wise. (See also guitar work in "Brighton Rock" live version for similar concept). It's worth trying out this harmony with friends.

Top    : G# -   -   A   B   -   -
Middle : E  -   F#  -   -   -   G#
Bass   : B  C#  -   -   D#  E   -
chords : E  C#m sus F#m B   sus E

The song closes with soft piano figures with fermata ending:

| E    | D/E  | E ...