Keeller Kwyeen
Verse 2
Guitar Interlude
Verse 3
Chorus 3
Intro
Chorus 1
Verse 1
Chorus 2
Guitar Solo
Begins with an Anacrusis
The piece in general
Key: Eb, but the key is usually ambiguos
Freddie's vocal range is originally a tenor, but he can sing into the falsettos.
Tempo: 112 beats per dotted crotchet
Transcript: The song never had actual sheet music and thus somebody had to transcribe the song into sheet music.
The texture gets thicker as you get into the song
5 bar phrase (Bar 6 - Bar 11) [irregular]
Bar 6 - 7
Drums and bass enter as an anacrusis from Bar 6 to Bar 7.
Bb chord to Eb chord in Bar 6 to Bar 7 (imperfect cadence)
Bb7 in bar 6: 7ths are very usually a 5th (anticipation) into an Eb major chord.
Bar 7
The key is distinct here are Eb because of the way that in bar 6, Bb is played but then a perfect cadence in Bar 7
Bar 10: Time signature changes from 12 8 to 6 8 then changes again back to 12 8 back in Bar 11. Unexpectedly goes to G7 instead of Eb from Bb7 while entering the bridge.
3 bar phrase (Bar 12 - Bar 14) [irregular]
Bar 14: Perfect cadence in the piano right before going into chorus's F and Bb
Bar 12: We know we're changing due to harmonic sequencing and descending in 5ths. Chord progression goes from G7 to Cm, Bb to Eb, D7 to Gm (all in 5ths )
Bar 5 to 7: from Cm to Bb7 which is a 7ths. Going from this 7th to the 5th in bar 7 creates anticipation.
Bar 6: Drums enter along with the bass in an anacrusis into Bar 7. the 1st inversion happens when the Bb7 chord happens.
Starts with an Anacrusis
Chord progression up until Bar 17: Bb (6), Dm (1), Gm (4), Dm (1), Fm (4), A7 (5), Dm (1)
Bar 18: The key is C major (chordal progressions: 5 - 4 - 5 - 1). The accompanying guitar, and voices are panned during the "ba - ba - ba - ba" and is diatonically ascending in C major. This is word painting of "mind blowing".
Key change to D minor
Bar 17: D minor key ends at the end of the bar here. Laser beam uses flanger (phase shifter) and is a word painting of laser beams.
Bar 19: Bb chord on "anytime", which is sung an octave higher.
8 bar phrase with a 3 part harmony and parallel harmony (which is multi tracked)
Bar 20 - Bar 21: The chords written above are descending in 5ths according to the circle of fifths.
Bar 22: There is a 5th between a Bb and an F before going into the Instrumental. this secures a feeling of "F" for a while. It also signifies that we are no longer in the chorus. Flanger on "Wanna-try"
The Guitar sounds an octave higher
Bar 22 - Bar 23: there is a dove-tail effect where the Bb of the chorus into the F pedal in bar 23 instrumental. Plagal cadence as it goes from Bb to F (IV to I)
Bar 23: the piano's left hand is playing an F pedal while the right hand plays chords that are syncopated. It is a vamp; a repeating idea until a solo returns
4 bars long
Bar 26: Hi-hat rolls to transition into verse 2
Bar 27: There is a pedalled C that is played by the piano's left hand which is played again in bar 29 with the bass guitar also pedalling a C.
Chords mostly fluctuate between a Bb/F, F11, an F, a Bb, and an Eb/G
Bar 28: snare roll from bar 28 and triangle solo following right after the end of snare roll.
Bar 29: dissonance of a Bb7 chord over a C in the bass. There is also a guitar fill with pitch bending in this bar.
The melody is generally syncopated
Bar 31 - 32: Chromatic descend in the piano and guitar. (Eb - C)
bar 38: spoken lyrics just before Chorus 2
Bar 41: Flanger and word painting.
mostly the same as the Chorus 1
At the end of "anytime" at bar 43, the melody shifts from the voice to the the guitar solo
It is a variation of the chorus
7 bar phrase
Bar 47 beat 4 to 50: there is an F pedal like the instrumental. The drums are also syncopated until bar 49.
Bar 44 - 47: The chords are moving down in fifths. For example, it moves from A to Dm in bars 44 to 45, and G to Cm in bars 46 to 47.
10 bar phrase
Bar 58: time change to 6 8 and change again in 12 to 8
Bar 57 until the Verse 3: Cruising over Bbs all stops till verse 3
Bar 55 - 62: The guitars are overdubbing each other and it creates an arpeggiated effect.
Bar 62 - 63: 62 is repeated in 63.
Anacrusis in Bar 61 into the verse
Bar 62: wah-wah present in beat four of this bar as word painting for "playful as a pussy cat" to envision the cat. Octave jump from "hat" to "she"
Goes from C minor in bar 62 to E minor in Bar 64. The parts in bars 62 are also partially sequenced into bar 64.
Lyrics are mostly syllabic
Over dubbing: When you put multiple recordings of a certain instrument of choice in order to create a choir feel (eg. the guitars during the guitar solo in bars 53 to 61.)
click to edit
SMALL BRIDGE INTO CHORUS 3
Bar 67: word painting for "wild" using an ascending melody and drums playing semi-quaver notes. The guitar is also distorted in the 3rd and 4th beats.
Bar 69: time change to 6 8 and then back to 12 8 in bar 70. The guitar dampens the strings with the palm while plucking them.
Bar 72: No flanger at "laser beams".
Bar 74: higher notes in "anytime" to signify the texture building up as the chorus goes on.
Bar 77: This bar's "Wanna try?" has a massive flanger to it.
Bar 78: panning in the guitars and over dubbing of guitar 1 and 2 into the outro.
Outro
Perfect 5th F to Bb in Bar 79. However, the Eb with a G underneath it that follows makes the song sound dodgy. This progression is played in Bar 80 too.
Bar 81, the progressions end with a F, Bb to Eb, which are all fifths away from each other. The final Bb to Eb makes the song feel finalised and over.
6 clicks to start the song.
Time Signature: 12/8, which is compound time. This is quite unusual for a pop song.
Melody is conjunct; moving in steps, and syllabic; a single syllable to a note.
Guitars enter from here, panning in the left ear. The Guitars and piano (both the right hand chords and left hand) all descend from Eb chord all the way to a C chord.
C min and ends in G min
Vocables: making oohing and ah-ing sounds to sing and harmonise in the background of the melody.
Bar 8 - 9: Vocables: making oohing and ah-ing sounds to sing and harmonise in the background of the melody.
Acts as a bridge and modulation into the chorus.
Bar 13: Begins singing in Falsetto voice
Tonal Ambiguity throughout entire chorus.
Vocables in Bars 31 and 32
Bar 32 and 33: Backing vocals parallel emphasis "Killer"
Time change in bar 34 to 6/8 then back to 12/8 in bar 35 where the bridge begins
Bar 51 to 61: Verse 3 but in guitar
Bar 61: vocals are an octave lower here
Bar 63 and 64: Vocables
Bell tree before the time change
Goes from F to Bb when going into the chorus 3
Panned guitar overdubbing
Stars in Bb and ends in F