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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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“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.

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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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The chorus maintains a feeling of resolution and tension by alternating between the IV (F major) and V (G major) chords, while the vi (A minor) to V/vi (E major) progression provides a smooth transition back to the IV chord (F major).

In terms of borrowed chords, the E Major is a borrowed chord.
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E major (V/vi)
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“Whole Lotta Love” by Led Zeppelin is a classic example of hard rock and blues rock, characterized by its driving rhythm, distorted guitar riff, and powerful vocal performance by Robert Plant. The harmonic structure of the song is relatively simple, with a focus on the blues-based E-D-E progression during the second chorus. Although seemingly basic, this progression contributes to the song’s raw, energetic vibe.

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’]