Cekaj bohemian rahapsody je pesma koju je FM imao bukvalno celu u glavi.taj deo nije bio izmotavanje,vec sprovodjenje ideje zamisljene u lavi u delo.(nemoj sad da pomislis da sma rekao da s ti nesto rekao ili sta vec)Ta pesma je toliko kompleksna,odise zivotom,eklekticnoscu,i jednom jedinom stvari koja je meni najbitnija:vremenski kontinualna i odrziva sve ove godine,kao sto su bozanstvena komedija,deveta simfonija,rekvijem,...I jos jedna stvar koja mi se svidja u vezi te pesme.Odise 70-im.5 pesama su po meni epske:Bohemian Rhapsody,Prophets Song,Innuendo i The march of the black Queen & Brighton Rock :)Prophet song,ima ono sto nema bohemian,innuendo i ove ostale.Ove ostale imaju ono sto nemaju ova.Ova pesma je onako prekrivena prasinom bila sve ovo vreme krijuci u sebi ono najlepse od njih po meni.Nije ni trebalo da bude singl.Ja je ne bih dao za singl
The world owes more regards to this monumental song. The Prophet's Song together with Love Of My Life (and the whole "Opera" album) belong to the finest, most artistic compositions of rock music. Some would pigeonhole it (them) into the art-rock genre due to the long duration and the orchestration-like arrangements (mainly of guitars and vocals). In the second half of 1960s many bands (Deep Purple, Uriah Heep, Pink Floyd, Nice, Gentle Giant, Emerson Lake And Palmer, King Crimson) tried to mix classical music with rock: symphonic orchestration, covers of classical movements, sometimes weird chord progressions, long durations (10-20 minutes), etc... The bands all had their own way to do it right. Queen's early approach was writing all original and self-performed guitar orchestrations, powerful vocal arrangements, dramatic changes, maze-like or acyclic song forms, and non-standard but still ear-friendly harmonies. On the other hand, they tried to keep the form of the song, at least this time. We can find the standard sections like Chorus, Verse, and Bridge. Still, there are about ten sections not repeated at all. The variant-repetition of sections, phrases, and even shorter parts (plus the suspended chords) effectively unifies the song. Nevertheless, the listener meets with extended new melody-material until the end of the song, and unlike many monumental progressive rock compositions of that era, this one doesn't include an extended instrumental solo section with a simple repeated chord progression.
Novel idea is the canon being directly imported from classical music. On the other hand, one would think it was also inspired by the echoplex-machine that had been in circulation for a while. Brian May also used it for many of his guitar solos to date (e.g. Stone Cold Crazy). Brighton Rock was the first of these where the two echo-parts were in harmony with each other. There are hints that the idea of a canon preceded the use of delay machine: the intros of both My Fairy King and Liar contain close-to-canon guitar-fills produced without a delay machine. Pop-music sometimes used canon-like antiphonal vocals, moreover prog-rock also have a garden variety of real canons. Our canon is among the most creative ones of it's era in terms of harmony (drop me a line please if you disagree).
This song opens side B of the album (vinyl) and, similarly to the other side-opener Death On Two Legs, starts with fade in. The intro really needs silence to enjoy its fine touches.
We have five (and a half) Choruses and two and a half instrumental Chorus-variants. Due to the duration of over eight minutes and the varying arrangement, it's far from being repetitive.
The song opens and closes with an acoustic-guitar-dominated section. In the first seconds wind-blow imitating noise fades in. The music (and Intro I) starts when solo acoustic guitar enters. The performance is rubato; this makes it harder to count the measures (five measures). Intro II starts where the Chorus theme (shortened to four measures) enters.
The special instrument that can be heard during the intro is a toy (mini) koto, a traditional Japanese srtinged intrument. The acoustic guitar part (with the Outro) is very inspired.
All Choruses have different lyrics with some recurring lines; the arrangement and even the final chord change. In the first chorus the last chord is a superimposed Bb and A5 chord that badly needs a resolution to Am. Second chorus closes on F9; the third one - on Gsus2.
The lead vocal in the second phrase is harmonized. Note the fine and quick crescendo ("fade-in volume control") on the voices, especially at "...gathers here". This trick of performance was used in some of Brian's guitar orchestrations on Queen II, but also in more popular "applications" like the backing vocals of One Year Of Love. Second and third Choruses have very different backing riffs from the first Chorus. It's a clever riff, one of Brian's most clever ones, as it has different rhythmical breakpoints from the lead vocal. These two phrases have mostly harmonized lead vocal.
The third Chorus' backing vocal is in higher range than the preceding second one. The final chord (F#m) is backed with a short guitar orchestration. It enters on a fourth beat. Two further Choruses can be found after the Canon. Second of these is instrumental (solo 3) for its first half. If you can use the karaoke trick, listen to the last Chorus, and you'll hear the powerful Chorus-riff more clearly.
The Verse has a climactic design which is articulated by the thickness of the arrangement and also by the syncopation. First two phrases have no harmonies except 8th measure, and the rhythm is hardly syncopated; at many times we can hear only quarters. The third phrase adds guitar harmonies. One of the parts fades in with feedback. (Queen examples for using feedback: Get Down Make Love, Let Me Entertain You, Innuendo). The guitar harmonies, the entrance of drums, and the melody all prepare us for the climactic fourth phrase which has quickened harmonic rhythm and more syncopation. During the first measures of this phrase the descending lead vocal is nicely counterpointed with the ascending guitar figure. The lead melody reaches its peak point in the last measure.
The Canon
Technically it has three subsections. The first one features Freddie in solo with two additional delay-parts. Second subsection features three-part harmonies with one additional delay. The delay time is four beats. The canon part is about 2:30 minutes long. It keeps the tempo, but some entrances are not synchronized. Note that both the first and the last subphrases of the Canon are taken from the Chorus' beginning and end.
3:24-3:32: this part recalls the chorus theme. The key-setting scale used is g-minor, differently from the Chorus (d-minor).
3:33-3:44: it uses a bb-minor scale without 6th degree. The delays create tight harmonies because of the slow descent of the notes.
3:44-4:00 Starts with three notes of G# harmonic minor (frame-chords: E, Eb). It is followed by a B-major triad.
4:00-4:17 It starts downwards with a Bb triad (closed on minor 7th); then comes a Bbm-based (pentatonic scale + 7th degree) downward scale. The created delay-triads are oscillating between Bbm and G#.
Brian May, performing Brighton Rock on stage, frequently used both aproaches (among many others): single chord triad and a hexatonic scale resulting in an oscillating progression.
4:18-4:33 B-major triad starting from F; toward the end Freddie adds a minor seventh. Special effect is that the micro-phrases are three beats long, which results in the pulsing effect due to the four beats delay-time.
4:33-4:39 This is the same hexatonic scale. The dissonance towards the end shows what happens if pentatonic scale is mixed in.
4:40-4-48 Freddie brings the key one step down. (B > Bb-major)
4:50-5:39 This part goes with three-part harmonies with a single delay. Three voices combined with two delays could result in nine voices singing simultaneously, which is hard to keep under control and avoid disturbing dissonances. That's why the arrangement here is mostly antiphonal and uses only one delay. This subsection is 36 measures long.
The power chords are completed with guitar harmonies with many bent notes. The harmonies, in a somewhat higher position, are mainly used during the second eight measures. Note the 5th (13th) measure the first harmony-chord is Em instead of C. Note Roger's great drumming, too!
There's a short six-note guitar fill in the fourth measure shared between three guitars following each other. This gambit is called a hocket (applied also in the songs I Go Crazy and Spread Your Wings). The first guitar solo starts on the upbeat of the last measure.
Solo 1
The "rest" of the solo is backed by a new eight-measure subsection. The backing concept is not easy to describe: three-part guitar chords on each fourth beat and a short single note on each second beat, but there are deviations from this concept. What we've got here is in fact a shift of accents that we can explain as anomalies of meter:
Similar shift of accents can be found in Killer Queen, Now I'm Here, Save Me. ( I can't find a non-Queen example yet). Common factor in these examples is that the shortened measure has an elongated pair at the end of the phrase, and between these two there are "normal" measures.
Check out how the guitar solo applies break-points fitting to this subsection. The harmony fill is based upon Em and A chords, while rhythm guitars play powerchord-based riffs rooted on Em and Am (!).
Solo 2, Connector 5
Right after Solo 1 there is another solo. During its first phrase (four measures) it is backed with riffs, reminiscent to the ones of the second Chorus, and delicious guitar orchestration. The second phrase is a connetctor with guitar harmonies.
This section is followed by the last phrase of the Verse that is in a-minor. Pivot modulation takes place during the last two measures of Connector 5.
Connector 6
Metrically, it starts one beat after the final chord (D) of the last Chorus, and 16 measures long with eight repetitions of a guitar figure. It is closed with a dramatic Bbsus#4 chord, introducing the Outro.
Outro
Similarly to the Intro, it starts with a rubato-performed part followed by a Chorus-variant phrase. The rubato part features the koto again.
E sad koga ne mrzi da cita nek procita sve,ali mkoga mrzi nek procita samo prvi pasus.Iskreno mislim da je ova pesma remek delo.Malo me je uvek nervirala cinjenica sto su se posle nje sve do innuendo,nisu imali neke zelje da urade nesto sto ce ih toliko zapanjiti kao sto su ovih par stvari.Harmonija u svemu tome jeste kljuc koji otvara vrata njihove muzike na najboljhi moguci nacin.Svirali su za svoju dusu,da,ali mislim da su imali period zasicenja kada su pravili fenmenalne stvari ali losije od ovih.O boze tek sam ustao a vec lupam.
p.s.mogao bih ja i dalje ali mrzi me iskeno
izvor za ovo je queen royal legend site
