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I wanna talk about the pre-chorus on Portishead “All Mine” and how unprecedented and amazing those note choices are
And how she changes it up on the last pre-chorus to make it even more unhinged
― flamboyant goon tie included, Tuesday, 7 June 2022 22:24 (one year ago) link
It seems that the vocal melody is in the E♭ minor of the verse, while the chords underneath go up and down on B min, C# min and D min? Then in the last prechorus, she's singing a semitone higher, so the melody more-or-less matches the chords underneath for the first time.
― Halfway there but for you, Wednesday, 8 June 2022 02:47 (one year ago) link
I don’t have perfect pitch so I couldn’t name the keys in the car yesterday while listening, but yes, the two primary chords on the pre chorus are bm and then dm, an attractive mediant association
But Beth sings a single same pitch over both chords and it is not the shared pitch (not the D)
Prechoruses 1 and 2, she picks a pitch that clashes with the bm
Prechorus 3 she switches it so it flashes with the dm
And it REALLY clashes, she sounds like she’s losing her mind. My friend Jessie once said “my god Portishead and their middle-class white lady having a breakdown vibes, it’s irresistible”
― flamboyant goon tie included, Wednesday, 8 June 2022 12:49 (one year ago) link
one year passes...
A google about something else suggested that I read an article about Jacob Collier's use of microtonal modulation within his pop constructions. I read it. Then I listened to him for the first time.
https://www.youtube.com/watch?v=mPZn4x3uOac
What he does at 4:00 is as impressive as was advertised tbh. Good writing, Jacob!