Her
Highness - Queen

Let's work on making piano songs work on the guitar. Queen's repitoire is varied, and many of the songs we re created by Freddie on the piano, but that can be made to work for a solo or duo guitarist(s)

I have selected three key songs from Queen in order to show how piano songs can be mastered on the guitar. They are also huge crowd pleasers!

1. Killer Queen

From Sheer Heart Attack (1974)

Introduction:

Killer Queen is a witty, theatrical piece that blends glam rock with music hall and cabaret influences. Brian May’s lead guitar work is awesome, serving more as a counterpoint to Freddie Mercury’s vocal and piano lines than as a traditional rhythm guitar part. But we are focussed on what Freddie is doing.

The original piano-driven harmony is rich with seventh chords, chords with a non root in the bass (inversions) , and chromatic movement, making it a fantastic study in chord substitution, economy of voicings, and musical storytelling on the guitar.

Chord & Arrangement Commentary:

Key: Originally in Eb major, but often transposed to D major or C major for ease on guitar. or perhaps with a capo on the 3rd fret
Notable Harmony Features:
- As is typicaly of this style of music, we are to llok at the use of secondary dominants (e.g. A7 → D, F#7 → Bm)
- There's some chromatic passing chords and voice leading (especially G → Gm → D)
- Quick, sophisticated chord shifts—use partial barre shapes or triads to simplify

2. Somebody to Love

From A Day at the Races (1976)

Introduction:

Somebody to Love is Queen’s gospel-inspired anthem, marrying a lush choir-style vocal arrangement with deep harmonic complexity. The rhythm and harmony come primarily from Mercury’s piano, making it an interesting challenge to translate to guitar. The song has extended chords, chromatic passing motion, and rhythmic syncopation are central.

Chord & Arrangement Summary:

Key: Originally Ab major, often transposed to G major or A major for guitar. alternately, we can put a capo in the first fret and play in G
Main Chords (Transposed to G): G – C – D – Em – A7 – D7 – B7 – E7 – Am – F#dim – F#m7b5
Notable Harmony Features:
- Heavy use of dominant 7ths and gospel-style progressions.
- Strong movement through circle of fifths (A7 → D7 → G).
- Chromatic voice leading and passing diminished chords.
Guitar Tips:
- Emphasise inner voices by picking bass/melody separately or using fingerstyle.
- Think like a gospel pianist: voice leading and smooth transitions matter.
- Add gospel-style licks in G major pentatonic between chord stabs.

3. We are the Champions

From News of the World (1977)

Introduction:

We Are the Champions is a power ballad built on stately, almost classical chord progressions. The song flows with grandeur, featuring modulations and chord extensions that provide emotional weight. While the original was composed for piano, the harmonic structure adapts well to guitar with careful voicing and a clear understanding of tension and release. A strong sense of dynamics is key to delivering this song effectively on the guitar.

Chord & Arrangement Commentary:

Key: Starts in C minor, modulates to Eb major (or easier to play in Am → C major on guitar)
Main Chords (Transposed to Am/C): Am – Dm – G – C – F – E – A7 – Bb – G#dim – Fm – C/G
Notable Harmony Features:
- Minor to major modulation for the chorus (Am → C).
- Use of augmented and diminished chords for dramatic effect.
- Root movement often steps by thirds rather than fourths or fifths.
Guitar Tips:
- Use open-string voicings where possible for clarity (e.g. C, F, G).
- Pay attention to dynamics—build up into the chorus.
- Allow ring-out chords in the verses and use palm-muted arpeggios in verses for contrast.