A fantastic way to improve our songwriting is to emulate the very best music because some of it will rub off if we get close to genius. The majority of the work is to study the song from a musicology perspective. But it’s not as difficult as it sounds, and I’ll walk you through it step by step.
How to Write a Song Like Bohemian Rhapsody
The first step is to listen to the song and sketch out some fundamentals like its structure and the lyrical and emotional themes. We then list the instruments and the overall color of the music before beginning our own song based on our research.
Our goal is not to copy or steal someone else’s ideas. We are not going to violate Queen’s copyright. We are studying their art to help us understand how great songwriters think so we can produce something great and powerful ourselves.
1. Listening Analytically.
In order to listen analytically, like a ‘musicologist’, you have to switch off your emotional response and focus on the practical aspects of the music. You need to switch off your emotional response and get practical instead. That’s never 100% reliable because we always get swept away by songs; so if you do drift off into the song, just remember to wake yourself up again, OK?
Listen to the song a few times to wear out your emotional response to it. You’ll get a bit bored,’ so you’ll know when you’re there.
We’re going to listen to the mechanism of the song, and you can split it into two chunks, 1. the music and 2. the lyrics.
It’s important that you understand how these two elements are inseparable. How they make way for one another and complement one another.
- The first verse ends with the line, “Sometimes I wish I hadn’t been born.”
- Think about it, what could you possibly say to follow that up?
The answer is ‘nothing.’ There are no words that could possibly make this statement more powerful, and for that reason, it follows Brain’s first guitar instrumental, because music is the only thing that can make this statement more powerful.
Brian’s playing makes it doubly powerful as it allows our minds to dwell on the statement’s power.
It climbs sharply to push our tensions higher and higher. Then it falls and climbs again as if in a musical death throw, finally giving up and falling into inevitable acceptance of the future.
While Brian’s guitar is screaming agony, we’re reminded of times when we’ve felt the bitter heartbreak Freddie’s words describe.
- This is just one example of the relationships you should be aware of when listening to this song.
- The song’s structure is another set of relationships you are probably aware of.
The song flows effortlessly between a gritty rock and operatic harmony. This will be difficult to emulate, but try to understand why it can do this and how it moves so effortlessly from one section to another.
In the lyric, note that changes in key and instrumentation accompany changes in perspective and attitude. This is especially true when we enter and exit the operatic section.
We’ll need pen and paper – and some alone time – so let’s talk.
Get a sense of what the song is about by listening to it.
The listener’s head is where most songs take place, which might come as a shock to some.
A musician puts stuff in the air, we listen to it, and then we make of it what we can. If we can’t connect emotionally with it, we usually don’t like it.
In Bohemian Rhapsody, what happens is pretty much up to us. If it connects with our emotional life experiences, we’ll like it. If it really pushes our buttons, we’ll love it.
If you weren’t here, we would have to assume that you feel emotionally connected to Bo Rap.
Bohemian Rhapsody is about emotion. When I listen to it, it’s about guilt, shame, confusion, and anger. Most likely, I’ll be angry at some point.
There’s another thing to consider!
Bo Rap is also a story. And a very interesting one at that. So what’s the story about?
Since I was a teenager when it first came out and was responsible for buying it and putting it on its pedestal, I can honestly say I have no idea.
Freddie wrote Bohemian Rhapsody about his inner battle with his sexuality, but it has never been confirmed.
In the 1970s, being bisexual or gay in England was not something you would talk openly about. It wasn’t even called ‘gay.’ It was called ‘homosexual’ or ‘queer’ or something very derogatory. It was very dangerous to be gay and there were a lot of social taboos associated with it.
Since homosexuality had only been legalized a few years earlier, many people still considered it a moral ‘monstrosity.’
Feel free to disagree with the story assumption if you like. Use your own version which fits your experience. I’m not here to dictate interpretation. As long as you get the emotional part right, it will not matter how you write your own song.
The appeal is that it addresses and explores powerful, conflicting emotions, and so should yours.
Take a moment now to listen to the story. Put your headphones on, continue reading, and listen to the story. Do you agree with me or is your interpretation different? Pause playback if you need to read something again.
Let’s get started!
It’s like a dream or nightmare to him, he can’t believe it’s happening.
The man he killed is not any man, not even another man. It is the man he would have been if he had not embraced his homosexuality. But how could he deny it?
This entire song is a metaphor for this murder. He’s turning to his mum because there is no one on the planet who can love and support him now, is there?
Tomorrow (i.e. for the rest of his life) he will be judged harshly, and he is dreading it. He may even die again.
‘Nothing really matters is a profound statement
I find that the line ‘Nothing really matters’ is one of the most powerful in the whole song, despite its insignificance.
I think he’s so worn out by it all that he’s given up trying to make sense of it all. Now he must ‘face the truth.’
Freddie Mercury exemplifies the social expectations of 1970s England. You weren’t allowed to be different. You weren’t supposed to be gay or bisexual.
This is also a hugely significant line, which most of us will experience at some point. If it has already happened to you, you should sing and write about it.
The loud guitar gives way to that insistent piano in the operatic section, which sounds like it has been there all along.
The operatic part has always reminded me of a courtroom where judges and juries and members of the public debate whether to let him go.
He is in pieces and his mind is arguing with itself, just like a chaotic courtroom from the 19th century.
Ultimately, he wants to be free from the turmoil so much that he can’t stand it.
The second rock instrumental from Brain, John & Roger gives Freddie and his plight a sort of musical jailbreak. It’s yet another metaphor. A complete change of attitude and tempo. A breakout!
He’s had enough. ‘To hell with all of you’ is his final statement. It’s an enlightening moment.
The reason he’s angry with his lover is unclear to me, perhaps he was also jilted, but that’s a detail I can ignore.
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 have out their differences. He feels he’s murdered a part of himself, he fears judgment, he plays that judgment out in his mind and is rescued by his music and his band. Perfect!
Emotionally, there is guilt, shame, vulnerability, confusion, despair, hopelessness, and anger at the system or the ‘man’ or society or his lover.
My goal is not to get you to agree with me, rather it’s to get you to understand that the song is a metaphor for emotional turmoil. The story sets out some events which provide context, even though they are imaginary, and within that context, all the emotions that we’re connected to are explored.
3. The structure and musical sections and instruments should be listed.
You will have a hard time managing the complexity of your song if you don’t get a separate piece of paper for each section.
It’s tedious and boring to analyze – so I’ve pretty much done it for you.
This point reinforces what I’ve already said. That is, different parts of the story explore different emotions and have characters with different attitudes, so they require different musical treatments.
This is not about lyrics yet, just about structure. If we don’t, we’ll end up in a mess. Music is more powerful than words, so it always dictates mood, attitude, and direction.
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.
While you read, put on your headphones and listen to the original song.
Section ii) Introduction
Chord sequence = I vi ii V, 12 bars, 50 seconds, Choir + Piano, key = Bb Major.
Whenever vocals are sung a cappella, a dreamy texture is created. Note how the harmony sounds unstable. Unstable = emotionally disturbing = very advanced clever stuff!
The piano comes in after 15 seconds as if he is walking in.
Section ii) Verse 1
This song is in Bb Major, 24 bars, 60 seconds, with vocals, piano, electric bass, and drums
This makes the verse sound more stable than the intro. It invites trust in what he’s singing, and relieves the uncertainty of the intro.
At around bar 9, roughly halfway through, the drums kick in. Notice how the mood changes.
Without them, the mood softens again.
Section iii) Verse Two
Vocal + Piano + Electric Bass + Drums + Electric Guitar + Backing vocals. 12 bars, 45 seconds.
The drums drive this from the get-go. No longer reflective. We’re looking forward to the future.
With the line ‘Face the truth,’ the electric guitar introduces fear, anger, or dread. This is called word painting.
Word painting is also evident in the backing vocals ‘Ooohs’.
Section iv) First instrumental
16-17 bars, 30 seconds, key Bb to Ab
Brian starts out in Bb Major, but right at the end shifts to A Major. It’s only a half tone, but it’s a huge change in tonality.
Observe also how Brain paints emotional turmoil into the silence. He’s not just playing a few notes that fit the chord sequence.
It is very clever musically and emotionally of him to raise tension, then raise it again, and then collapse into a heap in the wrong key.
Section v) Operational Calls and Responses
Now for the hard part.
In my mind, this is an imaginary court where Freddie is being tried.
The keys are A Maj, Eb Maj, 40 bars, 1m 04 seconds, Vocal + Choir + Drums + Piano + One chord of guitar.
Emotionally, we know we’re in a totally different place after Brian introduced the A Maj key change.
We change halfway through to Eb Maj. That’s nice, but a little unusual. This key stays until the end.
There are three characters I can identify, and the mood is one of confusion and fear.
- Freddie was frightened
The little silhouette of a man who nobody loves, he asks to be released. He believes Beelzebub (Satan) has a special devil to taunt him forever.
- The judges
They see little the silhouette and ask him if he can dance. They call him Scaramouch because this is a traditional name for a clown or foolish scoundrel in many old European plays. They have no intention of letting him go. They just want to entertain themselves, so they shouldn’t be.
By the word of God, they won’t let him go. Just think about that.
For your song, you will need to find a metaphor similar to Freddie’s nagging doubts, which will not let him go.
- Reasonable voices
People in the public gallery take Freddie’s side and call for his liberty, ‘Spare him his life’ and ‘Let him go’.
Thunderbolt and Lightning, Galileo & Magnifico. I think these are either multiple Frightened Freddies or a section in which he couldn’t come up with sensible words before his studio time ran out.
It’s arguably the catchiest part of the song. And if you know your Greek history, you’ll recall that Galileo was found guilty of heresy for pointing out scientific facts.
Your Freddie, your antagonist, and your supporters are the three characters you need to create this section. It doesn’t have to make sense – but it probably needs to be powerful musically and emotionally. Floating chords that lack certainty, not wishy-washy chords.
Frightened Freddie’s vulnerability is echoed by the piano and drums. The drums paint anger or fear, while the piano paints vulnerability.
Section vi) Second Instrumental
Around 8 seconds, 4 bars, electric bass, electric guitar x 2 maybe more, drums
It’s the moment when the band rescues Freddie from his dilemma. OR decides ‘to hell with you’. It’s a real breakthrough moment, so it deserves its own treatment.
Section vii) Last Rock Verse
A vocal, electric bass, electric guitar x 2 maybe more, drums, and 14 bars (see notes).
There’s anger and triumph in the music. It’s about freedom and self-determination. The music does a lot of the heavy lifting, but you can see Freddie’s determination in his vocal.
He won’t let them spit in his eye, so there’s a 2 beat bar in the original version.
Third Instrumental Section
Electric bass, electric guitar x 2, drums, piano at the end, 9 bars, 18 seconds.
Featuring some nice arpeggios and big chords to end the triumphalism, this is a rerun of the 2nd instrumental.
Section ix) Coda
We end with a very reflective and gentle coda. 32 bars (see notes), 60 seconds, electric bass, electric guitar x 2 maybe more, drums, piano, vocal, choir.
It’s interesting to note that the song ends very quietly and slows down considerably. It’s clear that the singer isn’t entirely over it.
4. Create your own song
I am in the process of creating a video to explain how to write a song, but for now here is the text version.
For your rough outline, you’ll need another piece of paper
Explore your own emotional dilemma. One in which there may be no right or wrong answer.
A conflict occurs when society or family or a friend or lover or tradition or the law is unyielding and demands a certain type of behavior, but you can’t conform.
Your song may also deal with ethical issues like end-of-life care or racism. Politics, climate change, and animal cruelty may also be relevant.
In order of preference, these are the best sections to start with.
(Section vii) The last fast loud verse,
(Section v) Operational Calls and Responses
The first verse of Section II.
My recommendation is to thrash out the nitty gritty heart of your dilemma in your own mind as soon as possible in the process. That way you’ll learn a lot.
After all, this is probably the toughest song you’ll ever write. If you don’t care about it, you won’t complete it.
By identifying with your emotions, your attitude, and the characters you are up against, you can paint them more effectively.
Having a rhythm and a feel for where your song is going will help you build tension with confidence because you’ll know exactly when and how it will happen.
There will be the most emotional release in the last verse, which will be louder and higher in pitch.
If you write everything else first and then figure out you can’t write the opera, then you’ll have another half-written song.
Do it in the right order, and while you’re at it, make a note of three or four hooky phrases that might replicate some of the following. These phrases are used repeatedly to emphasize certain emotions. They’re not exuberant, lyrical explosions, they’re just everyday phrases.
Despair = ‘Nothing really matters.’
The wind blows wherever it pleases.
‘Just gotta get out of here’ = Anger
Vulnerability = ‘I’m just a poor boy
‘Wish I hadn’t been born’ = remorse, regret, shame, guilt
The meaning of ‘Never let you go’ is complex, but it boils down to regret
Let’s write the outline for the lyrical story now.
To begin, let’s refresh our memories of what we’re writing about.
Our reality has caught up with us.
We have killed a part of ourselves or someone’s expectations of us.
It is dreadful, but we had no choice.
Our authentic selves can’t handle the conflict between what was expected and what we are.
My story outline is very short.
Also Read:Â 7 Most Common Songwriting Problems and How To Fix Them
In my Bo Rhap, I’m going to write about when I had to jump ship before our cruise had even started. It was supposed to be a holiday of a lifetime, but it nearly ended a 30-year relationship.
Let’s try writing the last verse now
You might find it helpful if you paste the Bo Rap lyrics onto your page and put your own underneath them.
You think you can spit in my eyes and stone me.
You think you can love me and leave me to die
You can’t do this to me, baby.
It’s just gotta go, just gotta get out.”
Your song’s most important part is this.
Whatever you do here must be high-pitched, loud, fast-sounding, and angry.
In this part, I imagine that I’m shouting/singing back at the vitriolic voices that attacked, ridiculed, and lambasted me for the misery I caused. Please remember that these lyrics are copyrighted, so if you use them without my permission, you’ll be liable for royalties just as if you’d used Freddie’s lyrics.
My first draft of the last loud verse:
“You can’t kick and hit me like I’m a traitor”
It’s as if I slept around as if I betrayed her
You know how to stir it, you know I don’t deserve it.
Divide and we fall, I hear your call loud and clear.”
They’re not strong enough, and the last line is way off, but they’re enough for now because I know they will improve as I work on the rest of the song. Take note of this strategy.
Whenever you revisit a phrase or verse, even if it isn’t right, it will improve.
Let’s now write the Operational Call and Response section.
These are my three groups or characters:
- Replacing Freddie with myself
- Â In addition, I may portray my Vitriolic Enemies as wolves or dogs. They replace the Judges of guilt and shame with my Vitriolic Enemies.
- There is also a group of my supporters – I don’t know who they are, but they are the voices of reason, similar to Freddie’s.
First Draft of Opera Call and Response:
ATRIOLICS:
“Look at this wastrel, meek as a pansy.”
When we swing you, Judus, will you pea?”
ME AND ANOTHER:
I’m being torn apart by hairy fleeces
It’s Johnnie Deo, it’s Johnnie Deo
I am Johnnie Deo I am Johnnie Deo
Where’s Johnnie Deo, take it to slow ow ow ow ow.”
Theme:
I’ve been a bad boy – now I’m in trouble”
A VOICE OF REASON:
It’s impossible for him to be a sailor because he’s claustrophobic
Take a moment to consider his mentality.”
Theme:
It’s a nice doggie, what furry ears it has.
The Vitriolics:
“By my paws, don’t let him escape”
Don’t let him stray from my paws
Don’t let him get away from my paws
Make sure he doesn’t escape
Let him go
Allow him to escape
I’ve never +
Wow, wow, wow, wow, wow!”
Theme:
Johnny Deo, Johnny Deo, Johnny Deo, come for me!”
VOICES OF REASON + ME:
“Sabrina, are you listening out for me? Will you rescue me?”
I need your help/rescue
“I need you / I need you to rescue me”
Here is an explanation.
I invented the name Johnny Deo, which is similar to the deceased singer Ronnie James Dio. I like it because it is unclear, it makes no sense, and it invites curiosity. This is a ‘happy accident.’ I found it by spouting gibberish and it confuses listeners as to who ‘Johnnie’ is.
A Celtic Goddess named Sabrina watches out for drowning boatmen on a local river.
Let’s Try Writing The First Verse Now
As I speak to myself or Johnnie Deo here, I stray from the original narrative of Bohemian Rhapsody.
As I strive to wrestle the song away from Freddie’s story, I pasted the original lyrics onto a page and put mine underneath.
“Johnny boy, you just killed our love.”
You tossed and lost what you hold dear in a bottle full of fear
Johnnie, you’re such a sweetheart
Now you’ve ripped it all apart.
(cast me to the waves now, Johnnie)
The hounds of love will feed upon your sorrow now, so I can’t help you
You’d better run, your love is in tatters.”
In a nutshell
There’s little point in discussing the music in text, so I’ll leave that to the video.
It’s just a matter of enthusiasm and trial and error. Try ideas for a block of the song, then move on to the next.
Fill in missing lines with gibberish, whole sections if you have to. You will likely have to keep coming back to it over time.
Do not think you will finish this in a week or two. Mine took nearly a year. How long did Freddie’s take?
In the links below you’ll find more information about general songwriting, and in the video, you’ll find more information as well.
Lastly, many of us can write a song that sounds like it was written and recorded by Queen. But being able to sing it like Freddie, and play solo like Brain, are two different things.
I wish you the best of luck – I hope you write something powerful that you love and kick like two donkeys at the same time.
