Jesus

Composer: Freddie Mercury
Meter: 6/8, 4/4 (12/8)
Key: b-minor/D-Major, c-minor, e-minor pentatonic, E-mixolydian
Form:

      Intro | Verse | Chorus |
            | Verse | Chorus |
            | Verse | Chorus | interlude - Solo I - II |
            | Verse | Chorus |

This Mercury song has a simple folk ballad songform with a progressive rock influented long instrumental interlude. The harmony of the vocal section is switching between relative Major/minor keys. The third verse is shifted up by a half step, but the subsequent chorus is shifted back to D. The interlude is like a contrasting instrumental bridge. It's simple harmony is in E and the meter also changes there.

Intro
The intro's two phrases is repeating what is going to be the backing track of the verse.


Verse
The eigth measure verse has four phrases: 2+2+2+2, ABB'C melody wise, AAAA harmony-wise. The only relatively complex thing is the rhythm of the lead tune. The arrangement features both electric and acoustic guitars.

b:
/------ 4x -----\\
| Bm   | F#  Bm |
| i    | V   i  |

The third verse is shifted up by one halfstep. It's last phrase we have a pivot modulation back to D-Major:

| Cm   | G  A |
| i    | V    |
D:     | IV V |

The last verse closes with a similar pivot modulation.:

| Bm   | F# A |
| i    | V VII|
      D:    V |

Chorus
The chorus is also simplistic. The lead melody is harmonised simply along the backing chords plus we have additional vocals by Mercury. We have five phrases: AA'AA'A" both harmony and melody-wise. The even numbered phrases start with pre-downbeat accent.

D:
/----- 4x -----\\
| D A  | G  A  |
| I V  | IV V  |

| D A  | G  F#  |
| I V  | IV V/vi|

The chorus preceding the verse in c-minor closes on the G chord which is a perfect pivot chord (G = V of c = IV of D). The closing chorus is turning gradually acapella and its ending is heavily reverbed.

Interlude Solo
The first subsection starts with the six cycles of the verse/intro hook and its variants (A A A'A'A"A") where the variants substitute the chord of the seond measures with single note motifs. The last phrase lands on the E chord marking the start of a connector subsection.

| E  | -  |

| D  | -  |

| E  | -  |

After six measures the drum-beat pattern switches to a triplet parsed 4/4 (12/8). The subsection can be divided to two measure fragmenst each closing with hemiolas. Toward the end of the subsection the hemiloas are subtly spreading onto the backing beat creating an alternate 6/8 feel again. For the end of the thrice repeated descending harmonic phrase we gradually switched back to 6/8 mode.
 We have three lead guitars one of them playing triplet-driven figures, one has over-saturated tone.

/--- 8x  ---\\
| E5  | -   |
| i   | -   |

/---------------- 3x -------------------\\
| E5  | -   | D   | -   |D C# C | C B A |
| i   | -   | VII | -   | chromatic     |

The semichromatic progression has a tad disorienting harmonic rhythm:

5 6 1 2 3 4 6 5 1 2 3 4 5 6 1
    D C#  C#C   C B   B A   D

/--- 5x  ---\\
| E   | -   |
|

The last subsection is the main solo splitted into two speedy triplet-driven melodic phrases both preceded by two heavy E5 chord. The mode is mixolydian.

/---- 2x ----\\
| E5  | solo |