Delilah

Composer: Freddie Mercury
Meter: 4/4
Key: G-Major
Form:  

      Chorus | Verse  |
      Chorus | Bridge |
          solo/Verse  | Miau |
       Outro (AAAA AAAA AAAA AAA fade out)|

Delilah is one of the most criticized Queen songs. Two major reason for this status:
the instrumentation is dominated by monoton pumping synth, synth drums. Piano is used for just moments as overdub.
The other weak point is the lyrics especially the lengthy outro with lots of "I love you" and "I love your kisses" phrases.
The music is tad more complicated than most of us expect from this is a deliberately non-serious song.
The form is non-repetitive, on the other hand the outro is very repetitive.
The harmony stays firmly in the homekey: G-Major. We have some chromatic line-cliches, inverted chords on the other hand the harmony is dominated by the I, ii, IV and V chords, no vi and just one iii chord.

Chorus
The 8 measure (2+2+4) chorus opens the song without any intro preceding it. This is one of the less bombastic and catchy chorus in the Queen catalog. It appears only twice in the song.

G:
| G    | -    |
| I    | -    |

| Am   | E/G# Am  |
| ii   | V/ii ii  |

| D    | Am/C   | Am   |/G /F# /E /D |
| V    | ii     | -    | -           |

The second Chorus adds a subdominant chord (C/G) in m.2. It creates an off-beat harmonic rhythm:

          * *
* * * * *     *
1 2 3 4 1 2 3 4

Also the second chorus adds guitar and piano fills.

Verse
The verse has simple harmony and phrasing (4+4+4+4). The only interesting point is the fourth phrase with two chromatic descending lines.

| G    | -    | Am   | -    |
| I    | -    | ii   | -    |

| Am   | -    | D    | -    |
| ii   | -    | V    | -    |

| C    | -    | G/B  | -    | 
| IV   | -    | I    | -    |


| C#   | C...                             : chromatic inner line
      ...A    | G#    | G     F#        | : chromatic inner line
| A    | Am   | G#+   | C/G   F#halfdim*|
| II   | ii   | chromatic...            |

The guitar solo is placed into the first half of the second Verse. Brian closes it with some triplets.

Bridge:
Similarly to the Verse the bridge is also very simple harmony except the last phrases.
The harmonic phrasing is AAAA'B-ext.

| G  D  | C  D  |
| I  V  | IV V  |

| G  D  | C  D  |
| I  V  | IV V  |

| G  D  | C  D  |
| I  V  | IV V  |

| G  D  | C  G  D |
| I  V  | IV I  V |

The second subsection has hardly any lead vocals, mostly just vocal harmony chords and synth chords.

| A    |  -   | -       |       |
| E    |  -   | -       |       |
| C#   |  -   | C       |   -   |
| A    |  G   | F#      |   F   |
| A    |  -   |F#halfdim| Fmaj7 |
| II   |chrom...                |

| Fmaj7  | -    |
| (bVII)...

Again we have the II where the M3 degree is soon lowered to m3rd.

Miau
The harmony starts like that of the Verse (and chorus). Again the last two measures provides something interesting: a diminished chord, and the only vi chord in the song. For the last phrase the lead vocal returns.

| G    | -    | Am   | -    |
| I    | -    | ii   | -    |

| Bm7  | Cdim7 |
| iii  | ivdim |

The imitation of cat with both human voice and guitar has famous precedences ("Cats Duet" (Gioachino Rossini), Catwalk (Bill Haley And The Comets, 1959)). Brian uses wah-wah pedal.

Outro
The outro reprises the Bridge chord-turnaround one minute long including the occassional twist of harmonic rhythm.
This overlong outro is filled with semi-improvised vocals, guitar fills extravagancas.

/------ 15x ----\\
| G  D  | C  D  |
| I  V  | IV V  |