Studied by 1 personWhat is unusual about the introduction to this song?
There isn't much of an introduction it is more of a lead in which uses 6 finger clicks. Very unusual start to a 'rock' song.
The piano has an unusual timbre. How is it created?
The piano is overdubbed to create a unique sound. It uses a grand piano and a 'jangle' piano where drawing pins are placed into the hammers to create a metallic, 'twang' sound.
What is unusual about the key/tonality of the opening to verse 1?
The first chord we hear is C minor, but the second chord Bb7 suggests Eb major. This causes some ambiguity and is also very strange harmony for a 'rock' song. We eventually get the Eb major chord at the end of 'just like Mary Antoinette'.
How would you describe the piano accompaniment during the opening section of verse 1?
It plays straight quaver chords on every beat.
What is the metre/time signature of the opening verse?
Compound time - 12/8
Why do you think Queen have used the time signature 12/8?
It creates a playful 'bouncy' character which is more in-keeping with the theatrical nature of the song.
How would you describe the melody of the vocal line during the opening of verse 1?
It is mostly conjunct. 'Moet et Chandon' and 'Let them eat cake' have the same melody. 'Just like Mary Antoinette' is the only phrase that has a rising Scalia melody.
At the end of the words In her pretty cabinet', the LH of the piano joins in. What harmonic device does it play?
A tonic pedal (C in C minor)
Name the two instruments that are added at the end of 'just like Mary Antoinette'.
Drums and bass guitar.
Name the order or parts heard in this first verse.
Finger clicks, voice, piano RH chords, piano LH pedal, drums and then bass guitar.
In the first verse, the vocal melody of bars 7 to 9 - 'built in a remedy' to 'at anytime an invitation', are based on what melodic device?
A a descending sequence.
In the first verse, bars 7 to 9 - 'built in a remedy' to 'at anytime an invitation', the lead guitar enters but how would you describe its part?
It plays a descending chromatic scale with each step played twice.
Backing vocals are added to verse 1 at 'Khrushchev and Kennedy', describe them.
They are 3-part chords created by overdubbing individual parts. They are used in a gospel type way as the individual parts of the chord are crossed. (In traditional harmony, there are rules to suggest that the soprano voice for example cannot be written lower than the previous alto part. Here the parts cross higher and lower which is similar to gospel music).
In verse 1, at 'an invitation you can't decline', there is a rhythmic trip. Meaning the metre is interrupted. How is this caused?
There is one bar of 6/8 creating two beats per bar rather than the 4 beats in a bar we have had so far in 12/8.
Towards the end of verse 1, we get the words 'caviar and cigarettes, well versed in etiquette, extraordinarily nice', describe the harmony throughout this section.
Here the harmony works as a series of V-I (5-1) sequences. 'Caviar and cigarettes' uses G7-C. 'Well versed in etiquette' uses Bb-Eb and 'Extraordinarily nice' uses D7-Gm. Notice how each subsequent V-I used is a 3rd higher than the previous one. This pattern also continues into the chorus with F-Bb on 'She's a killer'.
How does the accompaniment pattern change at 'Caviar and cigarettes'?
The chordal accompaniment in the piano part changes from straight chords played on the beat to a swung pattern. Note, it changes back at 'Extraordinarily nice'.
What is unusual about the phrase structure of verse 1?
It uses irregular phrase structure. Again this is not typical for a 'rock' song and is more typical of musical theatre. The opening phrase is 4-bars long, followed by a 5-bar phrase, followed by a 3-bar phrase. Again this suits the theatrical story or narrative of the song rather than just being a straightforward 'rock' structure with 4-bar phrases throughout.
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