The obvious question people had for May when they first heard the three-part harmony was, “How are you going to pull that off live?” Any live Queen recording of the tune gives the answer, “Quite nicely, thank you.” By picking and choosing the best bits of his three tracks, May fools you into thinking that he’s covering all the parts. Now you can do the same. The example below is an amalgamation of the end of the studio version of his “Killer” solo (where the multi-tracking is in full force). Whenever possible, let the notes ring together, and think call-and-response as opposed to a single part. That, along with the double-stops at the end, will help create the illusion of two guitarists (with awesome ’fros, stacks of AC30s, and coiled cords). Bonus points for playing the phrase in stereo with a panning delay.
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