Sonic Patterns and Compositional Strategies in the Music

Sonic Patterns and Compositional Strategies in the Music of Queen Nick Braae University of Waikato CUNY Graduate Centre 5 November 2015

Background • Idiolect analysis of Queen, 1973 -80 (90 songs, Queen to The Game) • Style — refers to common musical traits across a range of artists/composers (e. g. 1980 s pop, High Classical) • Idiolect — refers to common musical traits of a single artist • Easily identifiable recurring traits: vocal harmonies, guitar arrangements, harmonic fragments • But, nagging problem of ‘Bohemian Rhapsody’ • Two strands of an idiolect (compositional strategies and sonic patterns)

Unique Structural Identities of the Rock Ballads • Queen’s rock ballads: ‘In the Lap of the Gods…Revisited’, ‘Teo Torriatte’, ‘We are the Champions’, ‘Sail Away Sweet Sister’, ‘Save Me’, etc. • Most standardized song type in Queen’s output: stock instrumentation and textural changes, verse-chorus(bridge) form, plus other idiolect traits (close-position vocal and guitar arrangements, drum fills, etc. ) • But different modulation patterns and techniques

Queen’s Idiolect as a Sonic Watermark: ‘Mustapha’ • ‘Mustapha’ (1978), Jazz • ‘Persian rock’ style; consistent with the pastiche compositional strategy • Consistent in terms of sonic patterns (sudden textural change, overdriven rhythm guitar doubling the bass line, guitar harmonies, vocal arrangement) • Queen’s individual take on the Persian rock style

Queen in the 1980 s • Queen’s struggles in the 1980 s: intra-band conflicts, Sun City, mixed critical reviews • From ‘Save Me’, The Game (1980) — to ‘Staying Power’, Hot Space (1982) • Mixed fortunes thereafter: ‘If you're a fan who's been hankering for years to hear Queen get back to the bombast of its heyday, replace your old copy of A Night at the Opera or News of the World instead. But don't give up hope. At least The Miracle offers little snippets of Queen's former majesty’ (Neely, Rolling Stone, 1989) • Redemption with Innuendo: ‘The album is a homecoming of sorts for Queen, a return to the mid-'70 s glory days of such tunes as the infamous “Bohemian Rhapsody”’ (People Weekly, 1991)

Queen’s Idiolect in the 1980 s • ‘Staying Power’ and American R&B/funk, e. g. Skyy’s ‘Call Me’ (1981) • Congruous with compositional strategy, but few sonic patterns • ‘Tear It Up’ (1984), ‘Hammer to Fall’ (1984), ‘Friends Will Be Friends’ (1986), ‘Breakthru’ (1989), ‘I Want It All’ (1989) • Clear sonic patterns (namely, vocal arrangements), but lack of compositional strategies

Queen’s Idiolect and Innuendo (1991) • Queen’s struggles in the 1980 s: intra-band conflicts, Sun City, mixed critical reviews • Redemption with Innuendo: ‘The album is a homecoming of sorts for Queen, a return to the mid'70 s glory days of such tunes as the infamous “Bohemian Rhapsody”’ (People Weekly, 1991)

Levels of Relationship Style Sonic Patterns Compositional Strategies Idiolect Compositional Strategies Sonic Patterns

Progressive Rock and the Classical Connection • Classical music influences/borrowing key to progressive rock (Macan 1997; Covach 1997; Holm-Hudson; Anderton 2010, etc. ) • ‘Cadenza’ figuration in Yes’ ‘Roundabout’ (Sheinbaum 2002) • Canon in Gentle Giant’s ‘As Old As You’re Young’ (Lundberg 2014) • ‘Classical’ piano in Styx’ ‘Come Sail Away’ (Holm-Hudson 2005) • Pastiche in Queen’s ‘Millionaire Waltz’ (Braae forthcoming)

Progressive Rock and the Classical Connection • Classical music influences/borrowing key to progressive rock (Macan 1997; Covach 1997; Holm-Hudson; Anderton 2010, etc. ) • ‘Cadenza’ figuration in Yes’ ‘Roundabout’ (Sheinbaum 2002) • Canon in Gentle Giant’s ‘As Old As You’re Young’ (Lundberg 2014) • ‘Classical’ piano in Styx’ ‘Come Sail Away’ (Holm-Hudson 2005) • Pastiche in Queen’s ‘Millionaire Waltz’ (Braae forthcoming) • Structural and thematic design in Yes and Genesis (Covach 1997, Palmer 2001, Spicer 2008) • Different influences/borrowing practices, but recognised as related = compositional strategy

Glam/Glitter Rock • From Moore (2012) and Auslander (2003), exaggeration of 1950 s/1960 s pop: Roy Wood (‘See My Baby Jive’) and Phil Spector; David Bowie (‘The Prettiest Star’, ‘Drive-In Saturday’) and doo-wop; Queen (harmonic language) and the Beatles • ‘Glitter stomp’ drum groove

Glam/Glitter Rock • From Moore (2012) and Auslander (2003), exaggeration of 1950 s/1960 s pop: Roy Wood (‘See My Baby Jive’) and Phil Spector; David Bowie (‘The Prettiest Star’, ‘Drive-In Saturday’) and doo-wop; Queen (harmonic language) and the Beatles • ‘Glitter stomp’ drum groove in Gary Glitter’s ‘Rock and Roll’; ‘Leader of the Gang’; ‘Dynamite’ (Mud); ‘Hell Raiser’ (Sweet’) • Plus, ‘Do You Wanna Touch? ’ (Gary Glitter); ‘Tiger Feet’ (Mud); ‘Block Buster!’, ‘Teenage Rampage’ (Sweet); ‘Can the Can’, Suzi Quatro, etc. • Commercial imperatives (sonic patterns) vs. artistic prestige (compositional strategies)?

Further Reading Progressive Rock and the Classical Connection John Covach, 'Progressive Rock, 'Close to the Edge, ' and the Boundaries of Style'. In Understanding Rock: Essays in Musical Analysis, eds. John Covach and Graeme M. Boone. New York: Oxford University Press, 1997. 3 -31. Kevin Holm-Hudson, '"Come Sail Away" and the Commodification of "Prog Lite"'. American Music 23/3 (2005): 377 -394. Nors S. Josephson, 'Bach Meets Liszt: Traditional Formal Structures and Performance Practices in Progressive Rock'. The Musical Quarterly 76/1 (1992): 67 -92. Mattias Lundberg, 'Motivic cohesion and parsimony in three songs from Gentle Giant's Acquiring the Taste (1971)'. Popular Music 33/2 (2014): 292 -292. ———. '“To Let it Be Without Pretense”: Canon, Fugue, and Imitation in Progressive Rock 1968– 1979'. Music Theory Online 20. 3 (2014). <http: //www. mtosmt. org/issues/mto. 14. 20. 3. lundberg. php> (accessed 14 October 2014). Edward Macan, Rocking the Classics: English Progressive Rock and the Counterculture. New York, Oxford University Press, 1997. John R. Palmer, 'Yes, 'Awaken', and the Progressive Rock Style'. Popular Music 20/2 (2001): 243 -261. John J. Sheinbaum, 'Progressive Rock and the Inversion of Musical Values'. In Progressive Rock Reconsidered, ed. Kevin Holm-Hudson. New York: Routledge, 2002. 21 -42. Mark Spicer, 'Large-Scale Strategy and Compositional Design in the Early Music of Genesis'. In Expression in Pop-Rock Music: Critical and Analytical Essays, ed. Walter Everett. New York: Routledge, 2008. 313 -344. Glam Rock Allan F. Moore, Song Means: Analysing and Interpreting Recorded Popular Song. Farnham, Surrey: Ashgate, 2012. Philip Auslander, 'Good Old Rock and Roll: Performing the 1950 s in the 1970 s'. Journal of Popular Music Studies 15/2 (2003): 166 -194. ———. Performing Glam Rock: Gender and Theatricality in Popular Music. Ann Arbor: University of Michigan Press, 2006.

The ‘Opera’ Section of ‘Bohemian Rhapsody’ • Famous sixty-second episode • Influences? Mercury: ’I did some research…’ (cf. Peraino, Mc. Leod 2001, Long) • Likely allusion to Gilbert and Sullivan (e. g. H. M. S. Pinafore or The Pirates of Penzance)

Queen’s Stylistic Voyages 1960 s folk ‘Long Away’ Rockabilly ‘Crazy Little Thing Called Love’ 19 th-C Vienna ‘Millionaire Waltz’ Queen 1970 s rock 1930 s jazz ‘Dreamer’s Ball’ Music hall ‘Lazing on a Sunday Afternoon’

Also in the Opera Section • Vocal arrangement: close-position upper parts plus octave/fifth below • Standard arrangement for Queen • Common-tone diminished chord built on local tonic • Movement of inner/lower voices under upper pedal • Antiphonal dialogue across the sound-box

Issues with Queen • Easily identifiable recurring traits: vocal harmonies, guitar arrangements, harmonic fragments • But, nagging problem of ‘Bohemian Rhapsody’ • ‘One last attribute that is part of Queen's sonicfingerprint is their stylistic eclecticism’ (de Boer 1999); ‘It is the unpredictability of the band’s recordings that is arguably the only real constant. . . it is in this respect that Radiohead problematizes the specification of idiolect’ (Moore and Ibrahim 2009)

Compositional Strategies and Sonic Patterns • Two strands of an idiolect • Sonic Patterns: gestures or musical details ‘articulated’ in the same ‘manner’ from song to song • Compositional Strategies: gestures or musical details that are ‘articulated’ in a different ‘manner’ from song to song, but shared musical kinship or identity • Any category (style, idiolect, sonic pattern, compositional strategy, etc. ) simply ‘tells us something different about how we organize the sequence of sounds issuing from instruments or speakers’ (Moore 2001, 441) • Richness of the method from different forms of commonality within single temporal span