How to Write a Song Like Bohemian Rhapsody

Trying to emulate the very best music is a fantastic way to improve our songwriting because if we can get close to genius, some of it's bound to rub off. Most of the work lies in studying the song with our musicology hat on. But it's not as hard as it sounds and I'll walk you through it, step by step.

We start by listening to the song and sketching out a few fundamentals such as the structure and the lyrical and emotional themes. Then we make a list of the instruments and the overall colour of the music. Lastly, we get busy on our own song using our research as a guide.

Let's get a few things clear - we are not trying to copy or steal other peoples' ideas. We are definitely not going to infringe Queen's copyright. We are studying their art to help us understand how great songwriters think, so that we too can produce something great and powerful.

Table of Contents

1. 1. How to Listen Analytically.

2. 2. Get an Idea of What the Song is About.

3. 3. List Structure and Musical Sections and Instruments

4. 4. Build Your Own Song

1. How to Listen Analytically.

Listening analytically, like a 'musicologists' is quite a skill. It involves different parts of your brain than those you'd normally listen to music with. You have to switch off your emotional response and get practical. That's never 100% reliable because we always get swept up by songs; so if you do drift off into the song, just remember to wake yourself up again,OK ?

It helps to listen to the song a couple of times to wear out your emotional response to it. You'll sort of get 'a bit bored,' so you'll know when your there.

We're going to listen to the mechanism of the song and if you like, you could split it into two chunks, 1. the music and 2. the words.

But what's really important is that you grasp how these two elements are inseparable. How they ebb and flow, how they make way for each other and compliment each other. For example.

At the end of the first verse "Sometimes I wish I'd never been born at all."

Have a think about this, ask yourself 'what could I possibly say to follow up that statement ?'

The answer is 'nothing.' There is absolutely nothing anyone can say that could possibly make this statement more powerful. So this is why it's followed Brain's first guitar instrumental, because music is the only thing more powerful than words.

And it's doubly powerful because while Brian's playing, it gives our minds the freedom to dwell upon the power of the statement.

The solo is also psychologically very clever, even pushy. It climbs sharpwards to push our tensions higher and higher still. Then it falls and climbs again as if in musical death throws until eventually it gives up. Falling into inevitable acceptance of what's to come.

During Brian's solo, our minds toy with Freddie's lyric and wonder how it fits our own lives. And while Brian's guitar is screaming agony, we're reminded of times when we've felt the bitter heartbreak of Freddie's words.

This is just one example of the relationships you should be mindful of whilst listening. It will help you get a feel of why this song works so well.

Another bunch of relationships I'm sure you're aware of is the song's structure.

It's unusual for a hit song but more than that, it flows effortlessly between gritty rock and operatic harmony. This is going to be difficult to emulate, but try to get a feel for why this happens and how it just seems to fall so easily from one section to the next.

Also, notice that changes of key and instrumentation accompany changes of perspective and attitude in the lyric. This is especially true when we go 'into' and then 'out of' the operatic section.

You'll need pen and paper - and some alone time - so let's listen.

2. Get an Idea of What the Song is About.

This might come as a shock, but songs pretty much happen inside the listener's head.

The musicians puts the stuff in the air, we listen to it and make of it what we can. If we can't do anything with it emotionally, we usually don't like it.

So what happens in Bohemian Rhapsody is pretty much down to us. If it hooks into our emotional life experience, we'll like it. If it really pushes our buttons, we love it.

We have to assume then, that you feel emotionally connected to Bo Rap, or else you wouldn't be here.

Be under no illusion then. Bohemian Rhapsody is about emotion. When I listen to it, it's about guilt, shame and confusion. Toward the end of the song there's also anger. Most likely, some of it will be mine.

But there's another thing !

Bo Rap is also a story. And a very interesting one too. So what's the story about ?

As I was a young teenager when it was first released and one of those responsible for buying it and helping put it on it's pedestal, I can honestly say I've no idea - just kidding.

Although it's never been confirmed, I believe Freddie wrote Bohemian Rhapsody about his inner battle with his sexuality.

Take it from me, if you were living in England in the 1970's, being bi-sexual or gay was not something you'd be open about. It wasn't even called 'gay.' It was called 'homosexual' or 'queer' or something very derogatory. Being gay was bloody dangerous and riddled with all manner of social taboos.

Anyone in Freddie's position would be in turmoil and probably pretty scared. Homosexuality had only been legalised a few years earlier and was still a moral 'monstrosity' to a lot of people.

Feel free to disagree with the story assumption if you like. If you have you own version which fits your experience, use it. I'm not here to dictate interpretation. And it won't make any difference to how you write your own song because the emotional part is the part which you must get right.

But be clear, the principle appeal is that it addresses and explores powerful, conflicting emotions, and so too should yours.

So have listen now and read on. And DO listen, put your headphones on, carry on reading and listen to the story. Do you agree with me or is your interpretation different ? Pause play back if you need to read something again.

Here we go !

He's in a dream or nightmare, he can't believe it.

He's killed a man but not any man, not even another man. The man he's killed is the man he would have been if he hadn't embraced his homosexuality. But how could he deny it ?

So the whole song is a metaphor for this murder. And we slide in and out of metaphor for the whole song. He's turning to his mum cos there is no one else on the planet who's going to love and support him now, is there ?

Tomorrow ( ie for the rest of his life ) he's going to be judged and judged quite harshly and he's dreading it. He may even die all over again.

The gravity of the line 'Nothing really matters'

'Nothing really matters' is the smallest, insignificant yet for me, one of the most powerful lines in the whole song.

It illustrates total surrender to ones fate. I'm sure he's so worn out by it all, he's given up trying to make sense of it. And now he must 'face the truth.'

Again, I can't overstate the social expectations in 1970's England, it's all there in his words. You weren't allowed to be different. You weren't supposed to bi-sexual or gay. You weren't allowed to be a 'Freddie Mercury.'

He wishes he hadn't been born which is something most of us will experience at some point. This is also a massively significant line. If it's already happened to you, those are the emotions you should be singing and writing about.

When the operatic section starts, notice how it is inevitable in the music, just as it is in real life. The loud guitar gives way to that insistent piano which sounds as if it's always been there, we just hadn't noticed it.

For me, this operatic part has always reminiscent of a court room with judges and jury and members of the public all having their say on whether he should be 'let go.'

In reality, it's a stroke of metaphorical genius. His head is in pieces and his mind is arguing with itself, just like a chaotic court room from the 19th century.

In the end, he wants to be free of the turmoil so much he can't bare it.

luckily, his mates turn up in the shape of Brain, John & Roger with the second rock instrumental. For Freddie and his plight it's a sort of musical jailbreak. Again, it's another metaphor. A complete change of attitude and tempo. A breakout !

The last section is about anger. He's had enough. 'To hell with the lot of yer.' And it's an enlightening moment. He decides he can't deny who he is.

Alas, I must confess I've not yet figured out why he's angry with his lover, perhaps he was also jilted, but that's a detail I can live without.

So to summarize - as far as I'm concerned - Bohemian Rhapsody is as follows.

The lyrical theme is a metaphor where the conflicting elements of Freddie's persona hash out their differences. He's totally torn. He feels he's murdered a part of himself, he fears judgement, plays out that judgement in his mind and is rescued by his music and his band. Perfect !

It's classical dilemma with no right or wrong. Emotionally, the theme is guilt, shame, vulnerability, confusion, despair, hopelessness and ultimately anger at the system or the 'man' or society or his lover.

It's not important that you agree with me, in fact it doesn't matter at all. What's important is that you understand that the song is a metaphorical version of emotional turmoil. The story sets out out some events which provide context, even though they are imaginary, and with in that context, all the emotions that we're connected to are explored.

3. List the Structure and Musical Sections and Instruments.

When you come to write your song, I'd advise you to get a separate piece of paper for each section so that you can easily see the different sections. Otherwise, the complexity will be unmanageable.

As for analysing, well that sounds tedious and boring and it is - so I've pretty much done it for you.

The point is to reinforce what I've already said. That is, that different sections of the story explore different emotions. They have characters with different attitudes and so require different musical treatment.

Take note, we're not working on lyrics yet, just structure. We have to do this now because if we don't, we'll just on up in a mess and we'll produce a mess. Remember, music is more powerful than words, so it always dictates the mood, attitude and direction.

All keys and timings are from the original 1975 version. And you'll have to change your keys to fit your singing voice so don't worry about them, just notice where there's a big change and how it affects you.

Now's the time to get your headphones on and listen to the original song while you read.

Section i) Intro

Key is Bb Major, Chord sequence = I vi ii V, 12 bars, 50 seconds, Choir + Piano.

Choirs or a chorus of vocals which are sung a cappella always give a dreamlike texture. Notice how the harmony sounds unstable. Unstable = emotionally disturbing = very advanced clever stuff !

Piano comes in after 15 seconds, as if he's walking up.

Section ii) Verse One

Key is Bb Major, 24 bars, 60 seconds, Vocal + Piano + Electric Bass + Drums

Notice how Bb is in the bass, this makes the verse sound more stable than the intro. It invites trust in what he's singing and provides relief from the uncertainty of the intro.

Notice the drums come in at around bar 9, roughly half way through. Notice how this changes the mood.

Notice how they stop again and the mood softens without them.

Section iii) Verse Two

12 bars, 45 seconds, Vocal + Piano + Electric Bass + Drums + Electric Guitar + Backing vocals.

No longer reflective. We're moving on to face the future. Drums drive this from the outset.

Notice how the electric guitar introduces fear or anger or dread with the line 'Face the truth.' This is called 'word painting.'

Notice the backing vocals 'Ooohs' are also word painting.

Section iv) First instrumental

Key Bb to Ab, 16-17 bars, 30 seconds

Notice Brian starts in Bb Major but right at the end shifts to A major. That's only a half tone but it's miles away in terms on tonality. So take note, it marks a sudden change.

Also notice how Brain is actually painting emotional turmoil into the silence. He's not just playing a few notes which fit the chord sequence.

He's raising the tension, then raising it again, then collapsing into heap in the wrong place, ie the wrong key. It is musically and emotionally very clever indeed.

Section v) Operatic Call and Response

So to the hard bit.

To re-iterate, in my mind, this is an imaginary court in which Freddie is being judged.

Keys = A Maj, Eb Maj, 40 bars, 1m 04 seconds, Vocal + Choir + Drums + Piano + One chord of guitar.

Brian has done us a favour by introducing the A Maj key change. Emotionally, we know we're in a totally different place than before.

But note this - half way through we change to Eb Maj. That's nice but a bit unusual. This key stays till the end of the song.

The mood is confusion and fear, and I can identify three characters.

Frightened Freddie

He's the little silhouetto of a man, just a poor boy who nobody loves, he keeps asking to be let go. He believes Beelzebub ( satan ) has a special devil put aside to taunt him for evermore.

Judges

They see little the silhouetto and ask him if he can dance. This is a deliberate ridicule like you'd often see in theatre. They call him Scaramouch as this is the traditional name of a clown or foolish scoundrel in many old European plays. They have no intention of letting him go. He's just a play thing for their amusement, why should they.

Bismillah, or by the word of God - they will never let him go. Think about this.

These are the nagging doubts which Freddie is wrestling, they will not leave him alone, they will not let him go. You will need to find something similar to this metaphor for your song.

Voices of Reason

These are a group of people in the public gallery, who take Freddie's side and echo calls for his liberty, 'Spare him his life' and 'Let him go.'

'Thunderbolt and Lightening, Galileo & Magnifico.' I reckon these are either multiple Frightened Freddies or a section where he'd written the music but couldn't come up with sensible words before running out of studio time.

I can understand why they kept it, it's arguably the most catchy part of the entire song. And if you know your Greek history, you'll recall that Galileo was found guilty of heresy for pointing out scentific facts - thinking outside the box. So it kind of fits.

So, you basically need 3 characters for this section, your Freddie, your antagonist, and your supporters. It doesn't have to make sense - but it probably will need to make an impact so it should be musically and emotionally powerful. Not wishy washy floaty chords with no certainty.

Notice how there's a lot of incidental piano and drumming. The drums paint the anger or fear, while the piano echoes Frightened Freddie's vulnerability.

Section vi) Second Instrumental

4 bars, around 8 seconds, electric bass, electric guitar x 2 maybe more, drums

Loud and punchy as hell. This is the moment when the band rescues Freddie from his dilemma. OR decides 'to hell with the lot of you.' It is a real breakthrough moment so it needs its own treatment.

Section vii) Last Rock Verse

14 bars (see notes), 24 seconds, vocal, electric bass, electric guitar x 2 maybe more, drums

He won't accept "their" judgement or punishment. He's decided to be free. The music is angry and triumphant. It's all about freedom and self determination. The music does a lot of the heavy lifting but you tell in Freddie's vocal, he's not going to take it any more.

Notice there's a 2 beat bar in the original version, it just emphasises the point that he won't allow them to spit in his eye.

Section vii) Third Instrumental

9 bars, 18 seconds, electric bass, electric guitar x 2 maybe more, drums, piano at end.

A re-run of the 2nd instrumental with a distinct slowing of tempo towards the end. Features some nice arpeggios and big chords just to bring an end to the triumphalism.

Section ix) Coda

32bars(see notes), 60 seconds, electric bass, electric guitar x 2 maybe more, drums, piano, vocal, choir. ' The big choir strikes up again and pretty much everything is playing but they soon fall away. We end with a very reflective and gentle coda.

Notice we the song ends very quietly and slows down considerably. And we learn he's not entirely over it. There's lingering sadness and surrender.

4. Build Your Own Song

I am very aware that explaining how to write a song would be much easier to understand in a video so I'm in the process of creating one for this article. But for now here's the text version.

You'll need another piece of paper for your rough outline

Get that now and explore your own emotional dilemma. One in which there might be no right or wrong.

They usually happen when society or family or a friend or lover or tradition or the law is unyielding and demands a certain type of behaviour, but you just can't toe the line any more.

It may also involve ethical issues like end of life care or racism. Politics, climate and animal cruelty could also provide great context for your song.

The best sections to start with are these in order of preference.

Section vii) Last Fast Loud Verse,

Section v) Operatic Call and Response

Section ii) First Verse.

The reason I suggest this is because it's vitally important to the nitty gritty heart of your dilemma and thrash it out in you own mind as soon as possible in the process. That way you'll learn a lot of things.

You'll discover if you really care about your subject, if it's powerful enough for you to see it through. After all, this is probably the toughest song you'll ever write. If you don't care about it, you won't finish it.

So you'll identify with the emotions, your attitude, the characters you are up against and the keys and instruments which might help you paint them.

You'll get a rhythm and a feel for where your song is heading. You'll be able to build tension with confidence because you know exactly when where and how the **** is going to hit the fan.

The last verse is going to be louder and highest in pitch and carry the most emotional release.

The operatic section is probably the most challenging piece of music you will ever write. So if you write everything else and leave the opera to last, but then find you can't write the opera, then you'll have another half written song.

So do it in the right order and while you're doing it, make a note of three or four hooky phrases which might replicate some the following. Some of these phrases are used repeatedly to emphasise certain emotions. Notice they're not eloquent, lyrical explosions, they're just everyday phrases, even cliches.

'Nothing really matters.' = Despair

'Anyway the wind blows.' = Surrender

'Just gotta get right outa here' = Anger

'I'm just a poor boy' = Vulnerability

'Wish I'd never been born' = Remorse, Regret, Shame, guilt

'Never let you go' = Complex but boils down to Regret

Writing : So now let's Write The Lyrical story Outline.

Let's start by refreshing our memories of what we're writing about.

Reality has caught up with us.

We've killed a part of us or somebodies expectations of us.

we feel dreadful about it but had no choice.

We can't handle the conflict between what was expected and our authentic selves.

Here's my story outline - it's very short.

So for my Bo Rhap, I'm gonna write about when I had to jump ship before our cruise holiday had even begun. It was meant to be a holiday of a lifetime; it nearly finished a relationship of 30 years.

Writing : Now Let's try Writing The last Verse

It might help if you paste the Bo Rap lyrics onto you page and put yours in line for line underneath.

"So you think you can stone me and spit in my eye.

So you think you can love me a leave me to die

Oh baby, can't do this to me baby.

Just gotta out, just gotta get right out of here"

This is the most important part of your song.

What ever you do here must be high in pitch, loud and fast sounding and angry.

These are my lyrics for this part, I imagine I'm singing / shouting back at at all the vitriolic voices who attacked, ridiculed and lambasted me for the misery I caused. And remember, these are my copyrighted lyrics, if you use them without my permission, you'll be making yourself liable for royalties just as if you'd used Freddie's

Last Loud Verse, My First Draft :

"You can't kick me and hit me like I'm a traitor

Like I slept around, like I betrayed her

all, you know's how to stir it, you know I don't deserve it.

Divide and we fall, I here your call loud and clear"

I think these will do for now - I know they're not strong enough and the last line is way off, but they're enough for now because I know they will get better as I work on the rest of the song. Take note of this tactic.

Never dwell on one phrase or verse, even if it's not right, everytime you come back to it, it will improve.

Writing : Now Let's Try to Write the Operatic Call and Response Section.

My three groups or characters are :

1. Myself. Replacing Freddie

2. My Vitriolic Enemies. Who I may portray as wolves or dogs. They Replace the Judges of guilt and shame.

3. A group of my supporters - I don't know who they are, but they are the voices of reason and are similar to Freddie's I suppose.

Opera Call and Response, First Draft :

VITRIOLICS:

"Look at the wastrel - meek as a pansy

Judus, Judus, will you pea when we swing you"

ME + ANOTHER :

"Hairy fleeces tearing me to pieces now

Johnnie Deo, Johnnie Deo

Johnnie Deo Johnnie Deo

Johnnie Deo where d'yer go, Take it slow ow ow ow ow"

ME :

"I've been a bad boy - now I'm in the doghouse"

VOICES OF REASON :

"He's claustrophobic never make a sailor

Spare a thought for his mentality"

ME :

"God doggie, nice doggie, what big fury ears"

VITRIOLICS :

"By my paws, ay don't let him get away

by my paws, ay don't let him get away

by my paws ,ay don't let him get away

Don't let him get away

Let him get away

let him get away

Never +

Bow wow wow wow wow wow wow"

Me:

"Johnnie Deo Johnie Deo Johnnie Deo come for me"

ME + THE VOICES OF REASON:

"Sabrina, are you listening out for me / will you come and rescue me ?

For me / rescue

For me / rescue me"

An explaination.

Johnnie Deo is a name I made up - it's similar to a deceased Rock Singer Ronnie James Dio. This is 'happy accident.' His inclusion confuses the issue of who 'Johnnie' is for listeners. I like this because it is unclear, it makes no sense, and invites curiosity. I fell upon this by spouting gibberish.

Sabrina is the Celtic Goddess of a local river who listens out for drowning boatmen.

Writing : Now Let's Try Writing The First Verse

Here I stray away from the original narrative of Bohemian Rhapsody. Instead of addressing my mother, I'm talking to myself or Johnnie Deo.

I pasted the original lyrics onto a page to guide me and put mine underneath. There's some really obvious rhyming which I'll probably get rid of later, as I try to wrestle the song away from Freddie's story.

"Johnnie boy, you've just killed our love

With a bottle full of fear, tossed and lost what you hold dear

Oh Johnnie, such a sweet sweatheart

But now you've gone and torn it all apart.

Johnnie, you're a fool. ( cast me to the waves now )

I can't help you now, the hounds of love will feed upon your sorrow

Better run, better run - Your love is now in Tatters."

A brief Summary

Those are the toughest sections for story and lyrics. There's little point in discussing the music in text so I'll leave that for the video.

By now, you should have a fair idea of where your song is going. You've got a long way to go but it's just a case of enthusiasm and trail and error. Trying ideas for a block of the song then moving to the next.

Don't try to get one bit perfect before moving on, fill in missing lines with gibberish, whole sections if you have to. You'll no doubt have to keep coming back to it over a period of time.

Remember, this is a massive undertaking, take your time and don't think you are going to finish it in a week or so. Mine took nearly a year. How long did Freddie's take ?

There's more detail in these articles about general songwriting in the links below and there'll be more detail in the video.

How To Write Songs About Absolutely Anything

25 Special Songwriting Secrets

Finally, many of us will be able to write a song which sounds as if Queen had written & recorded it. But being able to sing it like Freddie, and play that solo like Brain, those are something else entirely.

Good luck - hope you write something powerful which you love and kicks like two donkeys.