Two Legends, One Microphone
Under Pressure was born from a spontaneous jam session in Montreux, Switzerland, resulting in one of the greatest rock duets of all time. The song is built around John Deacon's iconic two-note bassline, but the vocal arrangement is where the real magic happens.
Singing this track solo is a massive challenge because you must embody two distinct personas: David Bowie's cool, detached Baritone and Freddie Mercury's frantic, soaring Tenor. Let's break down the vocal strategy.
AI Coach Tip: Don't Rush the Scat
The intro scatting ("Ee-da-dee-da-day") sets the rhythm. Many users rush ahead of the beat here. Treat your voice like a percussion instrument—crisp, short, and locked into the bassline.
Phase 1: The Bowie Verse (0:29 - 1:12)
Bowie's sections ("Pressure pushing down on me") sit in a comfortable Baritone range (A2 to D4). The key here is tone, not power. Aim for a relaxed larynx and a slightly darker, "crooner" resonance.
Technique: Keep your volume at a conversational level. If you push too hard here, you won't have the dynamic contrast needed for when Freddie enters.
Phase 2: Freddie's Tenor Bridge (1:12 - 1:57)
The energy shifts immediately. When singing lines like "Sat on a fence but it don't work," you need to brighten your sound. Lift your soft palate and place the resonance forward in the "mask" of your face.
Freddie uses a mix of chest belt and head voice here. The transition should be sharp and urgent, reflecting the lyrical theme of "terror" and "madness."
Phase 3: The Climax (3:00 - 3:55)
This is the emotional peak: "Why can't we give love." The melody climbs to high A4s in full chest/mix voice. The challenge is stamina. You have been singing constantly for 3 minutes, and now you must deliver the most powerful lines.
Engage your core for breath support. Do not squeeze the throat to hit the high notes; instead, rely on "twang" and open vowels to project the sound without strain.
Frequently Asked Questions
The highest belted note is an A4, but Freddie's scatting and falsetto harmonies reach up to an A5 and even touch C6 in some live ad-libs.
Yes, but it requires a wide vocal range. If the low notes are too low or the high notes too high, try using the Singing Coach AI app to transpose the key +/- 2 semitones.
Focus on rhythm. The snaps are on beats 2 and 4. While not vocal, keeping this internal clock helps your phrasing during the a cappella breaks.
