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Related Music Theory Alchemy

The “Glory Box” by Portishead chorus progression is based in D minor and moves between this primary D minor chord and three other chords: Dm/C, Bm7b5, and Bbmaj7. The Dm/C chord is the same as the D minor, but with a different note in the bass (C). The Bm7b5 is a half-diminished chord. The Bbmaj7 is major seventh chord.

The song “It’s A Fire” by Portishead features complex harmonic structures, distinguished by a fusion of pop, rock, and elements of jazz harmonies. The band, known for their trip-hop style, employ chromatically richer harmony and non-diatonic chord progressions in this piece. The chord progression of ‘It’s A Fire’ is consistent with this approach as we see the frequent use of suspended and minor chords alongside major ones, which creates a sense of unresolved tension. Borrowed chords, usually taken from the parallel minor or major key, are also used frequently to add stylistic color to the harmony.

The chord progression in MGMT’s “Congratulations” contains a mix of diatonic and non-diatonic chords, which provide a combination of stability and tension throughout the progression. The harmonic rhythm is slow, and the progression is mostly driven by bass line movement and voice leading. The mixture of borrowed chords, inversions, and suspended chords contributes to the overall unique character of the piece.

“Castles Made of Sand” by Jimi Hendrix is a psychedelic rock song that features a unique and colorful chord progression, blending major and minor tonalities in a way that creates tension and a sense of longing. The verse consists of a 12-chord progression that builds upon the foundation of the major key of C, even though it starts with the IV chord (F), which contributes to the song’s unusual character. The progression includes borrowed chords from the parallel minor and elements specific to Hendrix’s own style, making it a remarkable piece in terms of its harmonic complexity and eclecticism.

“Rocket Man” by Elton John, released in 1972, is a melodic and harmonically sophisticated example of his pop/rock style. The piece is in the key of G, and the chord progression of Verse 2 introduces some harmonies that exploit john’s expertise in using extended and altered chords, which lend colorfulness and a feel of departure and return. The use of slash chords like G/B and D/F# creates a descending bass line that is very characteristic of pop and rock music, creating a sense of melodic movement within the chords themselves. Verse 2 is navigated skillfully between simplistic and complex harmonies.

Portishead – Glory Box – Verse 2

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Chord Progression

[‘Dm’, ‘Dm/C’, ‘Bm7b5’, ‘Bbmaj7’, ‘Dm’, ‘Dm/C’, ‘Bm7b5’, ‘Bbmaj7’, ‘Dm’, ‘Dm/C’, ‘Bm7b5’, ‘Bbmaj7’]

Chord Progression Analysis

Here’s the chord analysis with the full chord names and their Roman numeral:

– Dm (i)
– Dm/C (i)
– Bm7b5 (vi half-diminished: viø)
– Bbmaj7 (bVI maj7)

“`
Dm/C is a borrowed chord. It’s essentially the i chord in 2nd inversion (i/C).
“`

Similar Chord Progressions

1. “Bittersweet Symphony” by The Verve also uses similar rhythm and techniques. It sticks more to traditional diatonic harmony but bears a similar ambience.

– E (I)
– Bm7 (vi7)
– D (IV)
– A (V)

2. “Creep” by Radiohead, while more simple in construction, uses a chromatic mediant chord (Major III) unexpectedly, similar to how Portishead uses the Bbmaj7.

– G (I)
– B (III)
– C (IV)
– Cm (iv)

Musical Analysis

This progression repeats and forms the foundation for the verse. It begins on the tonic chord (Dm), lending a familiar, grounded feel. The bass then drops to play a Dm/C, essentially the same chord in 2nd inversion.

A shift to Bm7b5 creates a jazzy half-diminished sound, preparing for a move to Bbmaj7, a chromatic mediant relationship with the tonic Dm. The use of Bbmaj7 supports the overall melancholy and longing found throughout the song. It also forms a clear ii-V-I progression in the key of the relative major key (F Major), further emphasizing a jazz influence on the song, and yet it becomes an unexpected progression due to the return to the tonic minor afterward rather than resting on the relative major.

Overall Analysis

“Glory Box” by Portishead from the album Dummy (1994) presents a haunting and somewhat melancholy ambience commonly found in their trademark trip-hop style. This song, in particular, draws from a palette of jazz-influenced harmony. The chords used, their extensions, and inversions, conjure complexity beyond basic triadic harmony. The chord progression listed appears to be in the key of D minor and employs common jazz techniques like ii-V-I progressions and usage of the half-diminished chord.

Style Analysis

Portishead’s definitive style is trip-hop, a genre born in the UK, often featuring electronica-influenced beats, scratching, samples, and a dark, brooding atmosphere. “Glory Box” utilizes these features with its prominent looping sample, slow tempo, use of synths, and Beth Gibbons’ chilling vocals, over a predominantly minor chord progression, welcoming an overall melancholic mood.

Chords in the Verse 2 section of Glory Box by Portishead are:

[‘Dm’, ‘Dm/C’, ‘Bm7b5’, ‘Bbmaj7’, ‘Dm’, ‘Dm/C’, ‘Bm7b5’, ‘Bbmaj7’, ‘Dm’, ‘Dm/C’, ‘Bm7b5’, ‘Bbmaj7’]