There’s the chromatic descent from #4^ to 4^, but rather than having 6^ fall to b6^, it just stays on 6^. Wistful, maybe, but definitely not sad. I – V -vi – IV – (C – G – Am – F) – With Or Without You – U2 This website is dedicated specifically for musicians, who are willing to find some catchy and interesting chord progressions. The blues is wistful and has an element of pain, but it isn’t exactly sad the way that Kalinnikov and Willie Nelson are. Some chord progressions have strong associations with a specific era. Willie’s tune is in E, but again, I transposed into C for easier comparison. You can hear it at around 1:00 in “If I Fell,” in the bridge. This is not what happens in the Kalinnikov/Willie Nelson progression. Although I think you can argue that it’s still II-iv-I, I think you also make the case that the progression is more about the chromatic descending thirds than a standard chord progression. There’s a 7th on the minor subdominant chord, ie. I think of the blues as being more about overcoming or enduring sadness than just expressing it. Instead of trotting obediently around the circle of fifths like you expect, the D7 unexpectedly resolves to F minor instead. This distinction also applies for the emotional character of a minor chord: if a minor harmony is repeated faster and at greater volume, its sad nature appears to have suddenly turned into fury. Here’s a mashup of Kalinnikov and Willie: The descending chromatic feeling you get from D7 to Fm to C is related to a timeless blues riff. Why is the Kalinnikov/Willie Nelson … A lead sheet could reasonably be written as E – F#/E – F/E – E for those minor 2nd lovers out there. In the next line, “and I would be sad,” the word “I” lands on Fm, the minor iv chord. No chord progression is sad by itself; it's how you use those chords that makes listeners feel sad. There’s the chromatic descent from #4^ to 4^, but rather than having 6^ fall to b6^, it just stays on 6^. vi-ii-iv-I A little bit of tension is added due to the unusual minor iv chord, which resolves back to the I. The 6th note of the major scale (A) is now the 1st note of the minor scale!You can take chords from the scale of a key and create a chord progression with them.. Say I’m writing a song in the key of A minor. I’ve always thought of that II-iv progression as Dido’s Lament chords. Some chord progressions have strong associations with a specific … So many songs are based on the same common chord progressions. Here we have the same V/V chord as in the saddest progression, but it goes to the IV chord, not the iv. But creating new chord progressions is difficult if you don’t know a handful of basic ones to get your ideas flowing. Another close relative of the Kalinnikov/Willie Nelson progression is the one that opens “Can’t Take My Eyes Off Of You” by Frankie Valli. Instead of moving from the brightest scale to the second brightest, you have just moved to a decidedly dark place. 11 Common Chord Progressions. (This type of harmony is called diatonic, … Once you find a chord progression you like, you can click the Save button to export the MIDI of the chord progression generator straight to your computer and into your DAW. Chord progressions are the skeleton that give your songs their basic outline. The Cdim7 chord has three notes in common with D7 (F-sharp, A, and C). Even the voice leading is depressing: the F-sharp and A in the D7 chord slump dejectedly down to F and A-flat in the F minor chord. Still, the emotional impact of the blues cliche is very different. This surprising chord implies F Dorian, alternatively known as C natural minor. The version of the progression in “I’d Have To Be Crazy” uses a different harmonic rhythm, and starts on the I chord instead of vi. The Dm7b5 chord similarly has three notes in common with Fm (F, A-flat and C). There are seven basic chords you can create just using the seven notes in this scale. This will make our ears think of the minor chord as the ‘home base’ chord. Landing on the G7 chord puts us back in C major. Sad chords are minor chords, right? The Beatles and Frankie Valli cadences are effective, but they’re tamer and less chromatic than the Kalinnikov/Willie Nelson chords. There’s a bit of tension from the F rising up to F-sharp and then falling back to F, but basically, all is sweetness and light. Here’s how D7 is supposed to work in the key of C: it temporarily puts you in the key of G. The most conventional (boring) chord to follow D7 is G7, followed by C. Let’s think of this in terms of scales. The Kalinnikov/Willie Nelson progression is also related to the “Beatles cadence,” technically a combination major/minor plagal cadence. Sadness is that much sadder if you were expecting happiness. For more information you can google Theory of Musical Equilibration.

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