Newsgroup: it.fan.musica.queen
Titolo: Innuendo (the song) out of Roger's league

 V, found on maaaaaaaaaaaany songs - just turn on the radio!). Wonderful
song, very beautiful, touching, moving... but waaaaaaaaaay too simple.
Foreign Sand: He didn't write the music for that one.
Freedom Train: 5 chords, no modulation, only two chromatic functions (bII
and vii), square phrasing, static harmony during the verse, cliché-driven
progression (i > III > VI, almost a plagiarism from Nirvana's Polly or
Roger's own IILWMC). Very nice song, but veeeeeeeeeeery simple, hardly a
pinnacle of compositional complexity.
You Had to Be There: 6 chords, no modulation, only one secondary dominant
(V/VII), square phrasing, cliché-driven progression (i > v > VII > IV).
Great song, but veeeeeeeeeeeeeeeeeeeeeery simple.
The Key: 7 chords, two chromatic (V/V and iv, nursery school of
compositional vocabulary), no modulation, cliché-driven progression (i >
VI > III > VII, found on literally thousands of songs - just turn on the
radio!), square phrasing. Beautiful song, but waaaaaaaaaaaaaaaaaaaaaaaaaay
toooooo simple.
Everybody Hurts Sometime: 5 chords, no modulation, no chromatic chords,
square phrasing, most of the verse's driven by IV > V vamp (it's as
complex as blink-182, mind you!). Nice song, but waaaaaaaaaaaaaay
toooooooooo simple.
Loneliness: 7 chords, 3 chromatic (V/ii, bII and vii), square phrasing, no
modulation. Nice song, but quite simple in terms of rhythm, form, harmony,
etc.
Dear Mr Murdoch: 5 chords, one secondary dominant (V/V, the pre-pre-school
of composing), square phrasing, no modulation, cliché-driven progression
(I > V > iii > V/V). Great song and wonderful lyrics, but waaaaaaaay
tooooooo simple.
Old Friends: 7 chords, only one chromatic function (secondary subdominant,
nursery school of compositional vocabulary), square phrasing, only one I >
II modulation (cleverly executed, of course), intro vamps between I and IV
(kinder garten of compositional vocabulary). Wonderful melody, beautiful
touching song... but veeeeeeeeery simple.
Innuendo: Almost a couple dozen chords, loads of modulations, chromatic
progressions, metre-changes, irregular form, advanced section expansion,
tonal ambiguity, modal switches, fermatta...
In terms of musical complexity, most of the songs on Happiness are
two-storey houses, Loneliness is a three-storey building, Foreign Sand is
a five-storey building, Innuendo's the bloody Euston Tower (for the sake
of continuing the analogy, Prophet's Song would be the Croydon
Transmitter, March of the Black Queen would be the Empire State and Bo
Rhap would be Burj Khalifa).
Roger's a wonderful composer and a very clever musician, but this song was
completely out of his league as composer. It's like asking someone who's
never spoken French to give a 2-hour conference on metaphysics or
parapsychology in that language overnight.
And my follow-up:
It's not just about knowledge, but about experience and practice too.
Think of it as language: I don't speak a word of Hebrew (even though I'm
Jewish [ethnic-wise, not religion-wise, as I'm agnostic but that's a
different topic]). Can I learn a couple of words within a couple of hours?
Of course. Can I recite a short poem in Hebrew from memory via rote
learning? Sure. Can I give a conference on epistemological parapsychology
tomorrow morning? Of course not (I don't think I can even do it in
English).
Same case there. That's why a composer like Paul McCartney was not able to
score a string quartet for Yesterday (in 1965 at least - he's acquired a
lot more knowledge from then on, although he seems to have forgotten how
to write hits, but then again, that's a different matter), and a composer
like Freddie Mercury was not able to score a symphonic movement like the
second part of The Kiss (in 1980 at least).
It's not about writing 'good' or 'bad' songs, but about 'complex' or
'simple' songs. Innuendo's hardly on the same league as Bo Rhap or Black
Queen, let alone other progressive music (King Crimson, for instance), but
compared to everything Roger's written (for Queen, The Cross and his solo
career), it's like the Euston Tower vs two- to three-storey buildings.
Nazis and Coming Soon could be considered musical masterpieces in their
own way. What they are not, and there's no way around it, is as musically
complex as Innuendo. For me, the best song Freddie ever wrote (on his own)
was Lily of the Valley, which is very simple (though, again, out of
Roger's league for a number subtle harmonic and structural reasons). For
millions of people around the world (me included), Every Breath You Take
is a masterpiece, even if it's as simple as it can get in terms of form
and harmony. 
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In giovinezza pensavo fosse di Freddie, essendo il classico capolavoro 
alla Bohrap o BlackQueen.
Ho letto ovunque che era di Roger.
Quindi? questo articolo sbaglio o non chiarisce nulla (oppure mi ï¿œ 
sfuggito a me)

 sfuggito a me)
qua ci sono più dettagli:
http://sebastian.queenconcerts.com/a-e-t-innuendo.htm


 
http://sebastian.queenconcerts.com/a-e-t-innuendo.htm
ma dai dettagli, si capisce qualcosa?

> ma dai dettagli, si capisce qualcosa?
It started off as a jam session, which then turned into a full song once
Freddie took control of the harmony and started off the lyrics, which
would then be completed by Roger.
