Queen’s Bohemian Rhapsody

First off is the Intro. The song opens with a harmonized and sweeping, dream-like acappella melody in which a choir of layered voices sings, "Is this the real life? / Is this just fantasy? / caught in a landslide, / no escape from reality." This verse seems able to double both as an immediate reaction to the man’s act and a foreshadowing of his eventual and final state. During the intro Queen uses the technique of shifting the sound from the le

This is definitely the most extravagant section of the song and is what gives Bohemian Rhapsody its character. The opera section can be divided into five smaller subsections. The first of which is from the beginning to “Thunder bolt and lightning very, very firght’ning me.” The first musical sound of the opera section is a light piano playing the same short accented note, which picks up the tempo to about double of what it was before. This plays alone for two measures until the solo vocal starts with “I see a little silhouetto of a man.” Harmonized vocals enter on the fourth beat of the fourth measure, there is no syncopation being used. The last phrase adds extra voices in both the low and the high range, and the bass and drums come in. The next subsection of the opera section is from “Galileo” to “Magnifico.” The first two measures feature a call/response-like vocal arrangement with each singer singing at least an octave away from each other. During this part there is no musical accompaniment with the exception of the piano playing down scale with the melody for two beats simultaneously with “Galileo Figaro.” The third subsection of the opera part starts with “I’m just a poor boy” and ends with “this monstrosity.” The first two measures repeat the melody used at the beginning of the opera section, also there is a lyrical throwback to the intro of the song with “I’m just a poor boy.” The choir comes in along with the bass, drums and piano for “He's just a poor boy from a poor family, Spare him his life from this monstrosity.” The fourth subsection of the opera starts with “Easy come easy go” and ends with “no no no no no.” This subsection is preceded by the same one-measure piano part that was used at the beginning of the opera section. This subsection starts with the same melody used at the beginning of the first and third subsections. The following choir part is completely different, though. The meter of the so

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