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Related Music Theory Alchemy

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.

“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.

The verse 2 chord progression in Tyler, The Creator’s “Earfquake” is a mixture of diatonic and non-diatonic chords. The progression mainly features chords from the Bb Major key, with the D7 acting as a secondary dominant chord (V7/III). The progression has a smooth, jazzy feel that is typical of Tyler’s signature style.

The given chord progression belongs to the verse 2 of the song “Apocalypse Please” by Muse. This progression reflects the band’s signature style that combines elements of rock, classical, and electronic music. The chords follow a pattern that combines both diatonic and chromatic movement, creating a dramatic and intense feel. A unique feature in this progression is the use of slash chords, which adds further harmonic interest.

The chord progression in Verse 2 of Pink Floyd’s “Welcome to the Machine” is a complex and somewhat unconventional progression. It primarily features chords from the E natural minor scale, with some borrowed chords from the parallel E major scale. The progression creates an atmospheric and moody soundscape that is characteristic of Pink Floyd’s music, especially in their album “Wish You Were Here.” It also displays a certain level of sophistication in the harmony which underscores Pink Floyd’s musical depth.

Portishead – Sour Times – Verse 2

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Chord Progression

[‘C#m’, ‘C’, ‘E/B’, ‘E/G#’, ‘C#m’, ‘C’, ‘E/B’, ‘E/G#’, ‘C#m’, ‘C’, ‘E/B’, ‘E/G#’]

Chord Progression Analysis

– C# minor (i)
– C major (bVI)
– E major over B (V/III)
– E major over G# (V/vi)

“`markdown
C# minor – the tonic chord, or ‘home’ chord, in the key of C# minor.
C major – a borrowed chord from the parallel major key (C# major), also known as the ‘Picardy third’.
E major over B, E major over G# – inverted V chords that provide strong resolution back to the tonic, adding interest with different bass notes.
“`

Similar Chord Progressions

A chord progression somewhat similar to this can be found in Radiohead’s “Exit Music (For a Film)”, which also makes use of mode mixture and chromaticism:

– A minor (i)
– G major (bVII)
– E minor over B (v/III)
– C major over G (bIII/VI)

Such unconventional chord progressions can also be found in songs by bands such as Massive Attack and Björk, who are also pioneers of the trip-hop genre.

For example, Massive Attack’s “Teardrop” uses a progression that also features modal interchange and a chromatic descending line:

– F# minor (i)
– F major (bVI)
– D# minor over B (vii/iii)
– A# minor over G# (iv/VI)

These examples show the innovative and intricate blending of elements from jazz, funk, and electronica characteristic of the trip-hop genre.

Musical Analysis

C# minor is the tonic or home chord of this progression. The C major that follows is a borrowed chord from the parallel major key (C# major); this is an example of mode mixture or modal interchange, where chords from a parallel key are used to increase the harmonic interest of a piece.

The E over B and E over G# are inversions of the E major chord, which is the dominant (V) in the key of C# minor. The changing bass note—first B, then G#—creates smooth voice leading and adds harmonic interest.

Overall Analysis

“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.

Style Analysis

“Sour Times” is a prime example of trip-hop, a genre known for its fusion of hip hop, electronica, and jazz. This is reflected in its complex harmonic structure and use of non-diatonic chords. The progression creates a moody, introspective atmosphere often associated with the genre. The chord progression’s dark tone and chromatic elements help to establish the tense, somber mood that is characteristic of Portishead’s music.

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

[‘C#m’, ‘C’, ‘E/B’, ‘E/G#’, ‘C#m’, ‘C’, ‘E/B’, ‘E/G#’, ‘C#m’, ‘C’, ‘E/B’, ‘E/G#’]