Funny How Love Is

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

Intro || Verse | Verse | Verse (fade out)|

Seemingly this is song is the least progressive and least rocking composition of the album due to the title, strummed guitars and the relatively repetitious lyrics (beside the title phrase it's not that repetitious).
The intro of this song mixing-wise belongs to the previous track "... Black Queen" a kind of outro. Music-wise it's much closer to our song establishing its homekey, and foreshadowing its harmonic design. Lyrics-wise it's halfway between the two songs.
The body of the song consists of three long (almost 1 minute) cycles what I transcribed as Verse. It also has certain "chorus" flavor to that, and... and also certain "ABBA" flavor before the world knew what is "ABBA"-flavor as such.


Intro
The intro starts with am instrumental phrase which strats with a ragtime-influenced 3+3+3+3+2+2 rhythmized piano chord. These syncopations and the lead melody suggests a fast 4/4 beat. The end of the phrase is added guitar.

| C#dim | -    | G7   | -    |
| i#dim | -    | V    | -    |  

Harmony wise the intro consists of two close variant subsections but melody wise there is no repetition here.
The lead melody consists of two and four bar phrases. The first phrase features the familiar I > V6/3 > vi cliche.
We have a diatonic chord stream in m.5-10 from ii to V. Note the first notes of the melodic phrases also following this motion. The second half of the section is dominated by "backing" harmonies including an oscillating harmony block which is an early Queen trademark.

| C    | G/B  | Am   | -    |
| I    | V6/3 | vi   | -    |

| Dm   | -    |
| ii   | -    |

| Em   | -    |
| iii  | -    |

| F    | G    |
| IV   | V    |

| C    | -    | G    | Am   |
| I    | -    | V    | vi   |

| Dm   | -    |
| ii   | -    |

| Em   | -    |
| iii  | -    |

| F    | G    |
| IV   | V    |

Verse
Mixing wise the song starts with the verses, more precisely with a four bar intro exposing the main instrumental texture of the verse which consists of strummed acoustic guitars and piano moreover bass and drums the latter two being softly mixed. The strummed guitars are also a part of the rhythm section due to their percussive sound is at least as loud as the chords itself.

/---- 2x -----\\
| C    | -    |
| I    | -    |

The harmony of the melodic phrases seem to be hijacked by the strummed guitar chords (> Mustapha). The phrases accompanied with with D chord also sound being in D-Major due to the (major) pentatonic lead melody and the strummed chord having shifted up from the previous C-Major phrases. More closely listening reveals that the piano is still using natural C instead of C# which sounds here as a subtle modal infection. The pitch set of the phrase with strummed Em chord also suggest e-minor (harmonic minor) tonailty. The pitch set of the next two phrases with F chord is the same with the F-Major key. The last phrase is an exception as its pitch-set is C-Major, note the melodic natural F note used instead of F#.
On high level the C-Major homekey is still dominating the whole setion and for this reason this transcription does not applies any modulation. The chord progression reuses the chord-stream used in the intro with a minor change (D instead of Dm).
The verses consist of eighth four-measure phrases. Ph.1-2 are close variants. Ph.3-4 are shifted up variants of Ph.1-2. Ph.5 is contarsting compared to the other phrases with minor harmony. Here enter the backing harmonies present until end of the section. Ph.6 is a variant of Ph.1: the first half of the melody phrase is parallel, the second half is the same as Ph.1. Ph7 is a variabt of Ph.6 with lead harmonizing vocal is added for the first two subphrases. The last phrase is not a variant.

/------------ 2x -----------\\
| C    | -    | -    | -    |
| I    | -    | -    | -    |

/------------ 2x -----------\\
| D    | -    | -    | -    |
| II   | -    | -    | -    |

| Em   | -    | -    | -    |
| iii  | -    | -    | -    |

/------------ 2x -----------
| F    | -    | -    | -    |
| IV   | -    | -    | -    |

| G    | -    | -    | -    |
| V    | -    | -    | -    |

The later verses apply some notably changes and variants. First the second verse:
Ph.1-2 are completly altered only the rhythm remains the same. Ph5 adds simple lead guitar that is played until the end of the song. The first half of Ph6 is shifted down version of Ph7, while the second half is close variant with that of Ph7. Ph7 drops the harmony lead vocal and adds echoing vocal part for the first two subphrases.
In the third Verse you can hardly hear the piano, but the backing harmony vocals are sung throughout. The first phrases apply minor variants, but the rest of the section remains close to the first Verse.