A piano reference: chords, scales, theory & ear training.
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Chord Progressions
Sad Progressions
Progressions that ache · i · VI · III · VII
Sad chord progressions lean on minor tonics, descending bass lines, and borrowed chords to create longing; the Aeolian i-VI-III-VII loop and the descending lament bass are the two most recognizable shapes.
Editorial content for this topic is in progress. The interactive player and pattern data are live below.
Hear the pattern
Interactive player — try the progression in any of the 18 keys, switch modes, and adjust tempo to find the feel you want.
Version
Notation
i›Cm
70 BPM
Root-position blocks move in leaps. Voice leading holds the common tones and steps the rest —
Common in"Mad World" by Gary Jules · "Hurt" by Nine Inch Nails · "Hallelujah" by Leonard Cohen
Famous"Mad World" by Gary Jules · "Hurt" by Nine Inch Nails · "Hallelujah" by Leonard Cohen
The dusk violet and ash palette on this page is inspired by music-color synesthesia, sad progressions maps to dusk violet and ash, reflecting its wistful, downcast pull.
About Sad Progressions
Sad chord progressions lean on minor tonics, descending bass lines, and borrowed chords to create longing; the Aeolian i-VI-III-VII loop and the descending lament bass are the two most recognizable shapes.
Variations
Variation
Another way the pattern shows up in real music.
Version
Notation
i›Cm
90 BPM
Root-position blocks move in leaps. Voice leading holds the common tones and steps the rest —
Variation
Another way the pattern shows up in real music.
Version
Notation
i›Cm
95 BPM
Root-position blocks move in leaps. Voice leading holds the common tones and steps the rest —
Variation
Another way the pattern shows up in real music.
Version
Notation
vi›Am
86 BPM
Root-position blocks move in leaps. Voice leading holds the common tones and steps the rest —
Famous songs & pieces
"Mad World" by Gary Jules
"Hurt" by Nine Inch Nails
"Hallelujah" by Leonard Cohen
Frequently asked questions
What is a sad progressions progression?
Sad chord progressions lean on minor tonics, descending bass lines, and borrowed chords to create longing; the Aeolian i-VI-III-VII loop and the descending lament bass are the two most recognizable shapes.
How do I use this on the piano?
Start with the player above in C. Once the pattern is in your ear, transpose to the keys you actually play in. The Roman numerals stay the same; only the chord names change.