Jealousy

Jealousy
Composer: Freddie Mercury
Meter: 4/4, with occassional 3/4 bars.
Key: g-minor, Eb-Major
Form:

          Intro I - II | Verse I - II         | Chorus I - II - Intro II |
                       | Verse I - Break (II) | Chorus I - II'-II - Intro II' |

Jealousy is a classic but obsucured piano ballad written by Mercury in his favourite keys (two and three flats). The modulation from g to Eb is a neighbour-type. The harmony is rich in both non-diatonic and inverted chords and chords where the bass is one step above the root of the chord articulated by the treble notes.
The piano accompaniment is combines block chords, broken chords, arpeggios, melodic fragments. The bassline is creatively played. There are no guitar harmonies and just three blocks of vocal harmonies.
The songform consists of two long cycles with the "usual" developments between them: a vocal break and an extension for the chorus similarly to "Leaving Home".

Intro:
The intro consists of two subsections. The first one is dominated by piano broken chords.

g:
| Gm   | F    | Csus4 | C    |
| i    | VII  | IV    | -    |

The second one is dominated by a sitar-like acoustic guitar hook (the same that was used in "White Queen") built in the piano accompaniment as well. It consists of three phrases with the closing note getting higher (5 > 6 > 7). The choruses and the song itself also closes with this hook, where the bass also doubles the hook in simplified version.

Verse
The verse also has two subsections. The first one consists of two melodic phrases.

g:
| F    | C6/F | Cm/Eb |      |  
| VII  | IV   | iv    |      |

| Gm   | Gm7  | Bbm/Db|      | Gm7  | -    |
| i    | -    | iii   |      | i    | -    |

 The second subsection seven measure long with three bars in 3/4, almost a case of the familiar 3+3+3+3+4 pattern. The Fm chord prepares the modulation to the key of Eb-Major.

 | Fm7  | -    |
g: vii  | -    |
Eb: ii  | -    |

3/4     3/4    3/4   4/4
| Bb7  | -    | -    | -    | -    |
Eb: V  | -    | -    | -    | -    |

Break
In the second cycle the second subsection of the verse is turned into a great rising vocal break with lots of tight dissonances. The underlying chords and phrase lengths are modified compared to the original ending of the verse.


Chorus
The chorus has two subsections both dominated by diatonic chords but we have also some borrowed ones: iv, bVII, vii the latter being the most unusual (see also in "Drowse"). The most interesting chord is and Abm chord with Bb in the bass (m.11).

| Eb   | -    | Cm   | -    |
| I    | -    | vi   | -    |

| Gm   | -    | F1   | Fm   |
| iii  | -    | ii   | -    |

| Bb   | Ab/Bb (>6)| Abm/Bb | -    |
| V    | IV        | iv     | -    |

| Eb   | -    | Db/Eb | -    |
| I    | -    | bVII  | -    |

The second subsection is 14 measures long plus the 7 measure sitar-guitar hook. Harmony wise m7-10 repeats m.3-6 which is interesting, becuase repeated harmonic fragmnets usually follow the harmonic phrases, unlike here.
We have a pivot modulation from Eb-Major to the neighbour g-minor.

| Ab   | Gm7  | Cm   | Bb -7|
| IV   | iii  | vi   | V    |

| Eb   | Dm   | Cm   | Bb -7|
| I    | vii  | vi   | V    |

| Eb   | Dm   | Gm7  | -    |
| I    | vii  | iii  | -    |
    g: | v    | i    | -    |

| D/Gb | -    |
g: V   | -    |

repeat intro hook

The second susbsection of the second chorus adds vocal backing harmonies in m.1-5 and m.13-15. This chorus is altered from the fourth harmonic phrase retarding the modulation to m.15-17 where the last phrase of the chorus is and the subsequent hook ending is repeated. Note the first chord of the phrase is Gm instead of Eb.

m.13
  | D7/Gb | Bb7/F | 
Eb: V/iii | V     |

  | Eb   | D    |
Eb:  I   | vii  |
g:  VI   | V    | 

  | Gm   | Dm   | Gm7  | -    | g:  i    | v    | i    | -    |

| D/Gb | -    | | V    | -    |

repeat intro hook

The repeated intro hook closes with a fermata for piano and bass, but the latter takes a further sequence of upward slides: 7 > 1 > 3 > 5.

 | Fm   | -    |
Eb: ii  | -    |

| Abmaj7/Bb  | Bb(6)  |
| IV         | V      |

In m.3-4 of the second verse the piano line is tad different: Cm/Eb(8>7>6).

| Gm   | -    | -    |
| i    | -    | -    |

| Gm6  | -    |
| i    | -    |

| Gm7  |      |
| i    |      |