<P> Using the 24 - track technology available at the time, the "opera" section took about three weeks to finish . Producer Roy Thomas Baker said "Every time Freddie came up with another' Galileo', I would add another piece of tape to the reel ." Baker recalls that they kept wearing out the tape, which meant having to do transfers . </P> <P> The operatic section leads into a rock interlude with a guitar riff written by Mercury . At 4: 15, a quadruple - tracked Mercury (in stereo, the four parts are panned two on the left and two on the right) sings angry lyrics addressed to an unspecified "you", accusing them of betrayal and abuse and insisting "can't do this to me, baby". Three ascending guitar runs follow . Mercury then plays a similar B ♭ run on the piano, as the song builds up to the finale with a ritardando . </P> <P> After Mercury plays ascending octaves of notes from the B ♭ mixolydian mode (composed of the notes from the E ♭ scale), the song then returns to the tempo and form of the introduction, initially in E ♭ major, before quickly modulating to C minor, only to soon go through an abrupt short series of modulations, bringing it back to C minor again in time for the final "nothing really matters" section . A guitar accompanies the chorus "ooh, ooh yeah, ooh yeah ." A double - tracked twin guitar melody is played through an amplifier designed by John Deacon, affectionately nicknamed the "Deacy Amp". Mercury's line "Nothing really matters ..." appears again, "cradled by light piano arpeggios suggesting both resignation (minor tonalities) and a new sense of freedom in the wide vocal span". After the line "nothing really matters" is repeated multiple times, the song finally concludes in the key of E ♭ major, but then changes again to F major just before it ends . The final line, "Any way the wind blows", is followed by the quiet sound of a large tam - tam that finally expels the tension built up throughout the song . </P> <P> The New York Times commented that "the song's most distinct feature is the fatalistic lyrics". Mercury refused to explain his composition other than saying it was about relationships; the band is still protective of the song's secret . Brian May supports suggestions that the song contained veiled references to Mercury's personal traumas . He recalls "Freddie was a very complex person: flippant and funny on the surface, but he concealed insecurities and problems in squaring up his life with his childhood . He never explained the lyrics, but I think he put a lot of himself into that song ." May, though, says the band had agreed that the core of a lyric was a private issue for the composer . In a BBC Three documentary about the making of "Bohemian Rhapsody", Roger Taylor maintains that the true meaning of the song is "fairly self - explanatory with just a bit of nonsense in the middle". </P>

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