Search

Related Music Theory Alchemy

The song “Roads” by Portishead features a haunting yet melodic chord progression reminiscent of the minor key-oriented pop/rock of the 90’s. It combines chords from the key of A minor along with a borrowed chord from the parallel major key to create a moody, atmospheric soundscape typical of the trip-hop genre.

“Sour Times” by Portishead is largely written in the key of C# minor, with elements of modal interchange and chromaticism that contribute to its haunting, dark sound. The song exhibits a remarkable amount of harmonic complexity and non-diatonic harmony, which is a defining characteristic of the trip-hop genre. The piece makes use of intricate inversions and chromatic voice leading, along with a frequent use of sevenths and diminished chords for added tension.

“I Am The Walrus” is a distinctive composition by the Beatles from their 1967 album “Magical Mystery Tour”. Known for its surreal lyrics and creative chord progression, the song displays the Beatles’ mastery of composition and their innovative use of harmony. The song features elements from psychedelic rock, a genre that the Beatles helped popularize during the mid-1960s.

“Today” by The Smashing Pumpkins, was released in 1993 on their second album, “Siamese Dream.” The song is classic-’90s alternative rock with its layered guitars and emotionally raw lyrics. key is “E minor.”

The chord progression in the verse of “Apocalypse Please” by Muse is mostly based on the F#m and C# chords, with a strong emphasis on the i and V7 relationship. The progression moves back and forth between these two chords without straying far from the Tonality of F# minor while maintaining a tension and release structure.

Portishead – Roads – Verse 1

Add To Favorites Remove From Favorites

< All Analyses

Chord Progression

[‘Am’, ‘G6’, ‘Fma7’, ‘E7’, ‘Am’, ‘G6’, ‘Fmaj7’, ‘E7’, ‘F’, ‘G’, ‘Am’, ‘F’, ‘G’, ‘Am’]

Chord Progression Analysis

– Am (‘i’)
– G6 (‘♭VII6’)
– Fmaj7 (‘♭VIΔ7’)
– E7 (‘V7’)

(Note: ‘♭VIΔ7’ (Fmaj7) is a borrowed chord)

Similar Chord Progressions

– Radiohead – “Paranoid Android”: [‘Am’, ‘Fmaj7’, ‘Gmaj7’, ‘Cmaj7’]
– Tame Impala – “Yes I’m Changing”: [‘Am’, ‘Gmaj’, ‘Fmaj7’, ‘E7’]

Though not identical, these songs share a similar use of the ‘♭VIΔ7’ chord (Fmaj7) and resolve to a dominant 7th. This creates a similar mood and feel between these songs and “Roads” by Portishead.

Musical Analysis

This intriguing progression forms the verse’s primary harmonic structure. It traverses from the tonic i (Am), to the flat major 7th (‘♭VIΔ7’; Fmaj7), and finally to the dominant 7th (V7; E7). This creates unpredictability as it doesn’t follow a standard harmonic motion usually found in popular music. Emphasizing on the E7 chord’s tension, it calls for a resolution that returns us to the tonic (i, Am).

Overall Analysis

“Roads” by Portishead is set in the key of Am, also known as A minor. In the verse, there is an interesting use of the flat major 7 (Fmaj7) chord. This chord is not typically found within the natural minor key but is considered a borrowed chord from the A major key. Thus, this use of said borrowed chord and its resolution to the E7 dominants gives the song a unique feel, contributing to its mesmerizing and emotive ambience. Portishead tends to blend the use of A minor and A Dorian modality in their music, especially apparent in this composition.

Style Analysis

Portishead is known for their trip-hop genre. Their style often fuses elements of rock, hip-hop, and jazz which is reflected in the mixture of modalities and harmonic progressions used in “Roads”. The use of a ⸗♭VIΔ7 (Fmaj7) chord gives a somewhat jazzy feel to the song. The progression has a poignant and somewhat melancholic vibe that fits well with the overall theme of the song.

Chords in the Verse 1 section of Roads by Portishead are:

[‘Am’, ‘G6’, ‘Fma7’, ‘E7’, ‘Am’, ‘G6’, ‘Fmaj7’, ‘E7’, ‘F’, ‘G’, ‘Am’, ‘F’, ‘G’, ‘Am’]