Y12 AS Pop Notes - We Are The Champoins - Queen

We Are The Champions (1977) Analysis

Structure

Verse 1 – chorus – verse 2 – chorus – chorus

A very simple structure, no guitar solo or bridge, reflecting the anthemic nature of the song.

Motivic Links

Verse is based on 3 quavers-dotted crotchet motive. As in Another One Bites the Dust, the catch phrase rhythm follows the words closely, although the football chant (quaver-crotchet-quaver-crotchet-crotchet) had a more aggressive rhythm. This rhythm is used as a motive in the chorus. The gospel chord and its short-long rhythm are used here (Somebody to Love, Killer Queen).

Keys

Verse 1	Cmi-Eb	I-III
Chorus	F
Verse 2	Cmi-Eb	I-III
Chorus	F

A simple key structure, similar to Killer Queen in that C minor modulating to Eb major in the verse is then lifted up in the chorus. This makes the chorus sound even more positive. Life’s struggles are overcome in the verse and then given a triumphant, uplifting feeling in the chorus.

Harmony

Chord pattern for verse:

Cmi – Gmi 5 times, Eb-Ab twice, Eb – Bb/D – Cmi – F – Bb – C

Chord pattern for chorus:

F – Ami – Dmi – Bb – C – F – Ami – Bb – D dim 7^th – Gmi – Bbmi – F – Eb – Fmi/Ab – Bb7 – Bb/C

The pedal note at Eb-Ab emphasises the change to the major. The crescendo at “share of sand kicked in my face” is strong because of the descending bass line and increased harmonic rhythm of one chord per beat. The uplifting feel to the chorus is helped by a double modulation to the dominant: from Eb to Bb and then from Bb to F. The chorus is still emotional thanks to frequent use of minor chords and a modulation to G minor. The ability of Freddie Mercury to use such a wide range of chords and keys is part of the success of his music in creating emotive songs. Although sequences lead their way back to F, the use of Abs prepare for the return of the minor verse and then create a new sense of uplift as the key changes from major to minor when the chorus is repeated. The song ends on an imperfect cadence, with no one singing the final “of the world”, again suggesting that life has been a series of struggles to overcome and that there are no final victories.

Melody

The verse melody develops the opening motive classically, in short phrases similar to Sondheim’s Send In the Clowns, perhaps another example of the influence of Broadway and cabaret styles. The phrases become longer for the crescendo at “I’ve had my share of sand kicked in my face”. “On and on and on and on” is represented by a repeated C-Bb motive. The chorus is in a lower register, more comfortable for a stadium audience to sing along to. The phrasing here is balanced, both in bar lengths and range – descending for the first “my friends” and then ascending for “keep on fighting”. The rhythm of “We are the champions” is repeated, along with the words, making it easy to remember.

Rhythm and Metre

The metre is a compound 6/8 throughout, giving the song the same lilting feeling that “Somebody to Love” has. The rhythm of “on and on and on and on” is matched with a repeated crotchet-quaver motive. The rhythm of “we are the champions” is nothing like the football chant (quaver-crotchet-quaver-2 crotchets), but places more emphasis on the “we”, as a result sounding less aggressive, more a statement of fact and representing happiness at having overcome problems. “no time for losers” sounds like a childhood taunt. The pause at the end of the chorus before “of the world” adds a certain uncertainty or poignancy. The quaver-dotted crotchet rhythm, both in the piano accompaniment to the verse and in the guitar part at the end of the chorus is the same rhythm used in “Somebody to Love”.

Texture and Instrumentation

As is usual for a Freddie Mercury song there is a strong piano part, with arpeggios and chords over a tonic pedal. The guitar enters with stirring power chords on the crescendo “I’ve had my share of sand”, leading up to the chorus. The drummer only plays gentle cymbal strokes until the crescendo and then begins a proper beat in the chorus. The lead guitar is used in the second chorus, as is often the case Brian May fills in the gaps between the vocal phrases with equally soaring and powerful lines.

Context

Taken from the 1977 album “News of the World”, Queen’s answer to the developing punk rock scene.