“Freddie [Mercury] had the whole piece pretty well mapped out, as I remember, but he didn’t have a guitar solo planned," Queen's Brian May said.
"So I guess I steamed in and said, ‘This is the point where you need your solo, and these are the chords I’d like to use.’ The chord progression for the solo is based on the verse, but with a slight foray into some different chords at the end, to make a transition into the next part of the song.
"I’d heard the track so many times while we were working on it that I knew in my head what I wanted to play for a solo. I wanted the guitar melody to be something extra, not just an echo of the vocal melody. I had a little tune in my head to play. It didn’t take very long to record.
“The next section of the song, the heavy bit, was really part of Freddie’s plan. I didn’t change what he had very much. Those guitar riffs that everybody bangs their heads to are really more Freddie’s than mine. And at the end of that section, I sort of took over. I wanted to do some guitar orchestrations—little violin lines—coming out of that. And it blended in very well with what Freddie was doing with the outro.
“We were stretching the limits of technology in those days. Since ‘Bohemian Rhapsody’ was entirely done on 16-track, we had to do a lot of bouncing as we went along; the tape got very thin. "This ‘legendary’ story, which people think we made up, is true: we held the tape up to the light one day—we’d been wondering where all the top end was going—and what we discovered was virtually a transparent piece of tape. All the oxide had been rubbed off. It was time to hurriedly make a copy and get on with it.”
Queen (live, 1986)
Judas Priest guitarist Richie Faulkner (before Judas Priest):