Besides the five-piece chromatic ascent (six if we add the preceding A chord) in the top vocal part, we can find four more chromatic steps omitting the C-B cross-relation of C > E7 as the latter chord seems to drop the B (5 of E), at least in the vocals. The functional analysis of this chromatic-driven harmony would result in a mess except the V > I closing. Note the lack of minor chords, and the soprano voice added in the last measure.
Wednesday, October 13
Bohemian Rhapsody walkthrough
Holy mackinaw. Fraxas can tell you that sometimes I'll go into quite a bit of detail in analyzing music (or anything) that I like. But not like this. Then again, I would if I could.