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Related Music Theory Alchemy

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“Sour Times” by Portishead is a song with a complex and intriguing chord progression. It blends minor key tonality with modulations and chromaticism to give it a mysterious and brooding atmosphere. The song is primarily in the key of C# minor and features some borrowed chords and inversions that color the overall progression.

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“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.

The “Like Clockwork” track by Queens of the Stone Age showcases a wide range of harmonic complexity. The track is in the key of F# minor and it is characterized by non-traditional chord progressions. From the range of chords used within the song, it’s clear that the song deviates from strict diatonic harmony, and freely borrows chords from parallel keys (modal mixture).

The chorus of the Pink Floyd song “Breathe” features a mixture of diatonic and non-diatonic chords and creates a dreamy, spaced-out mood. The combination of major and minor seventh chords, as well as dominant 7th chords with altered 9ths, contributes to this atmospheric quality.

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The piece, ‘1979’ by The Smashing Pumpkins follows an overarching structure with a mix of major and minor chords, what stand out are the rich extended chords, ‘Emaj7’ and ‘Amaj7’. The piece displays a balance between tonic chords and dominant chords, expressing a classic pop-rock style whilst frequent usage of maj7 chords adding a distinctive jazziness to the tune.

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Portishead – Sour Times – Chorus 2

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Chord Progression

[‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘C#m’]

Chord Progression Analysis

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F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), F#m7 (II7), Emaj7 (Imaj7), D#7 (VII7), C#m (i)
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The chords D#7 and Emaj7 can be considered borrowed chords from C# major and C# harmonic minor respectively.

Similar Chord Progressions

A song featuring a somewhat similar progression (though not entirely alike) is “Creep” by Radiohead. Its verse progression of I III IV iv in the key of G has a similar melancholic feel and borrowed chords IV iv from the parallel minor.

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Creep (Radiohead): G (I), B (III), C (IV), Cm (iv)
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Musical Analysis

In essence, the repetition of the II – I – VII progression gives the chorus its unique shade. The F#m7 to Emaj7 involves a common step downward that maintains fluidity. However, D#7 to F#m7 ascension brings tension before the cycle repeats. This progression spotlights the “back-and-forth” dramatic effect which inherently fits the expressive values of the trip-hop genre. And the final C#m re-affirms the root of the song, providing a calming resolution.

Overall Analysis

The song, “Sour Times” by Portishead, is in the key of C# minor. The chord progression of the chorus that you’ve provided swings between three chords (F#m7, Emaj7, D#7) four times before ending on a C#m chord. It suggests a II – I – VII progression in the chorus, which is rare and distinctive in contemporary music genres. This choice of chord progression creates a mysterious, dark, and contemplative mood, characteristic of the trip-hop genre that Portishead propounds.

Style Analysis

Portishead’s style is often categorized as trip-hop, and this song embodies the atmospheric, melancholic nature of the genre. There’s an existential, moody quality to the sound, no doubt enforced by the unusual II – I – VII progression. The use of 7th chords lends a jazzy, sophisticated aura to the music, which blends well with the drum beats typical of the trip-hop style.

Chords in the Chorus 2 section of Sour Times by Portishead are:

[‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘F#m7’, ‘Emaj7’, ‘D#7’, ‘C#m’]