Sebastian
What about creating a thread to analyse each song harmonically?
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The King Of Rhye
Cool topic....I'd say that it isnt just that their harmonies and chords were complex, but that they always seemed to make them sound good as well...where it's like every chord and modulation logically fits with the whole song, if that makes any sense :)
BETA215
[QUOTE] [b]Sebastian wrote:[/b]
What about creating a thread to analyze each song harmonically?[/QUOTE]
I'm with you. :)
Lets hope more people are interested.
What about creating a thread to analyze each song harmonically?[/QUOTE]
I'm with you. :)
Lets hope more people are interested.
Bohardy
This is topic is right up my street. I'm a complete harmony addict.
I wish I had the motivation to write loads on the subject like some of you, but I don't at the moment. But I willl just say one thing:
Princes Of The Universe.
Where the hell did that progression come from?! It's ridiculous. The whole song is really, but the chorus is particularly impressive. It doesn't use any particularly advanced chords, but the progression is just nuts, and it somehow doesn't really sound it, particularly as the melody on top is pretty catchy and doesn't sound convoluted in any way. Consider:
A - D - C - Bb - A - D - C# - F# - D# - B7 - G#m7b5 - G - F#7 - Bm - G - F#7 - Bm
One or two of those chords are primarliy 5th chords, which could be interpreted as major or minor (I've gone for major in each case).
I think that's a pretty good example of the harmonic genius of Fred.
I wish I had the motivation to write loads on the subject like some of you, but I don't at the moment. But I willl just say one thing:
Princes Of The Universe.
Where the hell did that progression come from?! It's ridiculous. The whole song is really, but the chorus is particularly impressive. It doesn't use any particularly advanced chords, but the progression is just nuts, and it somehow doesn't really sound it, particularly as the melody on top is pretty catchy and doesn't sound convoluted in any way. Consider:
A - D - C - Bb - A - D - C# - F# - D# - B7 - G#m7b5 - G - F#7 - Bm - G - F#7 - Bm
One or two of those chords are primarliy 5th chords, which could be interpreted as major or minor (I've gone for major in each case).
I think that's a pretty good example of the harmonic genius of Fred.
Cyborg
Lots of great info about this topic at www.queensongs.info
I'm sure most of you already know the site but...
I'm sure most of you already know the site but...
Dim
Great topic!!! Keep on posting like that. Only Queen have such great fans!!!!
musicland munich
May be a bit vaguely cause I write that from the top of my head, Isn`t there a statement by Roger, that there is a song with some very complicated Chords ? And that they need Spike`s help to figure them out ?
Bohardy
[QUOTE] [b]musicland munich wrote:[/b]
May be a bit vaguely cause I write that from the top of my head, Isn`t there a statement by Roger, that there is a song with some very complicated Chords ? And that they need Spike`s help to figure them out ?[/QUOTE]
That was Radio Ga Ga, and I'm sure Roger was exaggerating somewhat. I think he said something to the effect that nobody in the band could remember what the chords were to the song, as they were too complicated, and then Spike came along and auditioned/rehearsed, and showed them what they were.
There's only really one chord that's a bit 'complicated' (an Fm6/Ab in the bridge/pre-chorus). The rest - with the exception of the F7/Eb in the chorus, which isn't really that harmonically left-field - are all diatonic and straightforward.
May be a bit vaguely cause I write that from the top of my head, Isn`t there a statement by Roger, that there is a song with some very complicated Chords ? And that they need Spike`s help to figure them out ?[/QUOTE]
That was Radio Ga Ga, and I'm sure Roger was exaggerating somewhat. I think he said something to the effect that nobody in the band could remember what the chords were to the song, as they were too complicated, and then Spike came along and auditioned/rehearsed, and showed them what they were.
There's only really one chord that's a bit 'complicated' (an Fm6/Ab in the bridge/pre-chorus). The rest - with the exception of the F7/Eb in the chorus, which isn't really that harmonically left-field - are all diatonic and straightforward.
The Real Wizard
[QUOTE] [b]Bohardy wrote:[/b]
[QUOTE] [b]musicland munich wrote:[/b]
May be a bit vaguely cause I write that from the top of my head, Isn`t there a statement by Roger, that there is a song with some very complicated Chords ? And that they need Spike`s help to figure them out ?[/QUOTE]
That was Radio Ga Ga, and I'm sure Roger was exaggerating somewhat. I think he said something to the effect that nobody in the band could remember what the chords were to the song, as they were too complicated, and then Spike came along and auditioned/rehearsed, and showed them what they were.[/QUOTE]
Spike himself has told the story. It was at the beginning of the Works tour rehearsals.
http://queenlive.ca/queen/84-08-24.htm
^ story here.
[QUOTE] [b]musicland munich wrote:[/b]
May be a bit vaguely cause I write that from the top of my head, Isn`t there a statement by Roger, that there is a song with some very complicated Chords ? And that they need Spike`s help to figure them out ?[/QUOTE]
That was Radio Ga Ga, and I'm sure Roger was exaggerating somewhat. I think he said something to the effect that nobody in the band could remember what the chords were to the song, as they were too complicated, and then Spike came along and auditioned/rehearsed, and showed them what they were.[/QUOTE]
Spike himself has told the story. It was at the beginning of the Works tour rehearsals.
http://queenlive.ca/queen/84-08-24.htm
^ story here.
Bohardy
[QUOTE] [b]The Real Wizard wrote:[/b]
[QUOTE] [b]Bohardy wrote:[/b]
[QUOTE] [b]musicland munich wrote:[/b]
May be a bit vaguely cause I write that from the top of my head, Isn`t there a statement by Roger, that there is a song with some very complicated Chords ? And that they need Spike`s help to figure them out ?[/QUOTE]
That was Radio Ga Ga, and I'm sure Roger was exaggerating somewhat. I think he said something to the effect that nobody in the band could remember what the chords were to the song, as they were too complicated, and then Spike came along and auditioned/rehearsed, and showed them what they were.[/QUOTE]
Spike himself has told the story. It was at the beginning of the Works tour rehearsals.
http://queenlive.ca/queen/84-08-24.htm
^ story here.
[/QUOTE]
Cheers Bob. So no mention from Spike of the chords being difficult, rather it was just that the band couldn't really remember how it went.
I've got a vague memory, as musiclandmunich has, of Roger saying something about this too though. I may well be wrong though.
[QUOTE] [b]Bohardy wrote:[/b]
[QUOTE] [b]musicland munich wrote:[/b]
May be a bit vaguely cause I write that from the top of my head, Isn`t there a statement by Roger, that there is a song with some very complicated Chords ? And that they need Spike`s help to figure them out ?[/QUOTE]
That was Radio Ga Ga, and I'm sure Roger was exaggerating somewhat. I think he said something to the effect that nobody in the band could remember what the chords were to the song, as they were too complicated, and then Spike came along and auditioned/rehearsed, and showed them what they were.[/QUOTE]
Spike himself has told the story. It was at the beginning of the Works tour rehearsals.
http://queenlive.ca/queen/84-08-24.htm
^ story here.
[/QUOTE]
Cheers Bob. So no mention from Spike of the chords being difficult, rather it was just that the band couldn't really remember how it went.
I've got a vague memory, as musiclandmunich has, of Roger saying something about this too though. I may well be wrong though.
thomasquinn 32989
Just like to point out here that some of the most genius moments, from a harmonic point of view, in Queen's work are not in the choice of chords, but in very imaginative voice-leading. When you're writing, for instance, multiple vocal lines, you don't simply look at which notes fit the accompanying chords, but also at counterpoint (the way multiple melodies move in relation to one another and the way they move to and from consonances/dissonances) and maintaining melodic lines with a degree of independence. If you listen to isolated tracks from the available multitracks, the wonderful way Queen often treated part-writing from a harmonic AND melodic perspective is among the most impressive of their feats in songwriting, IMHO.
cmsdrums
[QUOTE] [b]thomasquinn 32989 wrote:[/b]
Just like to point out here that some of the most genius moments, from a harmonic point of view, in Queen's work are not in the choice of chords, but in very imaginative voice-leading. When you're writing, for instance, multiple vocal lines, you don't simply look at which notes fit the accompanying chords, but also at counterpoint (the way multiple melodies move in relation to one another and the way they move to and from consonances/dissonances) and maintaining melodic lines with a degree of independence. If you listen to isolated tracks from the available multitracks, the wonderful way Queen often treated part-writing from a harmonic AND melodic perspective is among the most impressive of their feats in songwriting, IMHO.[/QUOTE]
Good point - and not just in relation to the harmony vocals too, but all aspects of the composiiton and arranging; the guitar harmonies (obviously!) are a highlight, but also how the bass lines and piano parts weave in and out of these so fluently and easily on the ear.
Just like to point out here that some of the most genius moments, from a harmonic point of view, in Queen's work are not in the choice of chords, but in very imaginative voice-leading. When you're writing, for instance, multiple vocal lines, you don't simply look at which notes fit the accompanying chords, but also at counterpoint (the way multiple melodies move in relation to one another and the way they move to and from consonances/dissonances) and maintaining melodic lines with a degree of independence. If you listen to isolated tracks from the available multitracks, the wonderful way Queen often treated part-writing from a harmonic AND melodic perspective is among the most impressive of their feats in songwriting, IMHO.[/QUOTE]
Good point - and not just in relation to the harmony vocals too, but all aspects of the composiiton and arranging; the guitar harmonies (obviously!) are a highlight, but also how the bass lines and piano parts weave in and out of these so fluently and easily on the ear.
thomasquinn 32989
Exactly. It applies to all writing in more than two parts (and, as far as simple counterpoint goes, also to two-part writing).
The Real Wizard
At the end of the day it all comes down to melody.
You can dress up music however you like or stick to meat and potatoes - but if there isn't a good melody, then very few people are going to want to listen to your music.
The Ramones and Queen both had great melodies, but couldn't have addressed the garnish element much more differently.
You can dress up music however you like or stick to meat and potatoes - but if there isn't a good melody, then very few people are going to want to listen to your music.
The Ramones and Queen both had great melodies, but couldn't have addressed the garnish element much more differently.
Sebastian
[QUOTE] [b]Bohardy wrote:[/b]
I've got a vague memory, as musiclandmunich has, of Roger saying something about this too though. I may well be wrong though.
[/QUOTE]
What Roger said was that he came up with some chords that he wouldn't have thought of had he written the song on guitar. Some of the chords (and even the fact the song is in F Major) were certainly more natural for keyboards than guitar, especially for someone who was admittedly not particularly proficient at either.
I've got a vague memory, as musiclandmunich has, of Roger saying something about this too though. I may well be wrong though.
[/QUOTE]
What Roger said was that he came up with some chords that he wouldn't have thought of had he written the song on guitar. Some of the chords (and even the fact the song is in F Major) were certainly more natural for keyboards than guitar, especially for someone who was admittedly not particularly proficient at either.