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#41
wow....-_-
this thread is like...........fail


I do like eric12321's progression
but damn you guys give him a break just post (IN YOUR OPINION IF ITS REALLY THAT IMPORTANT TO HAVE IT) the "saddest"(melancholy) progression youve found ...hell it could be E and A
#42
Quote by TrustMeWhenISay
wow....-_-
this thread is like...........fail


I do like eric12321's progression
but damn you guys give him a break just post (IN YOUR OPINION IF ITS REALLY THAT IMPORTANT TO HAVE IT) the "saddest"(melancholy) progression youve found ...hell it could be E and A


But that's just it. You don't get it. Maybe I think a C -> F -> G -> C progression sounds sad. In my opinion. Now, I doubt TS is going to think this sounds sad. Which doesn't help him at all.

What DOES help, is that some people explain that chord progressions don't have as much to do with the mood of the song as the instruments being used, the tempo, the timbre of the instruments/vocals, the lyrics, the melody lines, etc. All these things have more to do with "sad sounding" than a chord progression.
#43
Quote by MadAudioMan
Edit: Oh yeah, the D Minor thing came from Spinal Tap >_> I knew this

Based on a famous composer, forgotten who (Haydn?) who associated a feeling with each key. Never got that one though. Maybe he had synaesthesia?
#44
Quote by timeconsumer09
But that's just it. You don't get it. Maybe I think a C -> F -> G -> C progression sounds sad. In my opinion. Now, I doubt TS is going to think this sounds sad. Which doesn't help him at all.

What DOES help, is that some people explain that chord progressions don't have as much to do with the mood of the song as the instruments being used, the tempo, the timbre of the instruments/vocals, the lyrics, the melody lines, etc. All these things have more to do with "sad sounding" than a chord progression.



ok I think I get where youre coming from...but I think most people would see somthing in minor to be "sad" more than they would major ...whatever that means
Its like most would see Jessica Alba hotter than Rosie O Donnel...But of course its opinion so some people would think Kate Beckinsale to be hotter than Jessica Alba who is already hot in the first place.....some would disagree
im kinda confusing myself here sorry ..but for the most part i agree with you

but youve have explained to me that this topic is pointless which i do agree
and, I do agree it has more to do with the tempo and melody ...so on
#45
Quote by TheHowling
What are some of the saddest chord progressions you know?



Why do you want to know?

I mean, that's not really how creating art works. You don't find "sad" chord progressions so that you can make a "sad" song. What you want to do is become experienced and proficient enough with the materials of your trade (like scales, chords...ect) to express yourself through them. When you feel like expressing "sadness" or anything at all, you'll do it based on your own opinions that you developed through experience.

Get some experience. Then you won't have to ask others how to express your own ideas/feelings.
shred is gaudy music
Last edited by GuitarMunky at Jul 9, 2009,
#46
Quote by Archeo Avis
You don't seem to understand what chord progressions are or how they work, or you wouldn't asked such a, frankly, moronic question.


What? I know how chords work. I know how to construct both them and progressions. I have knowledge of certain progressions that seem to be projected as sad by most people. I was just curious what other people's favorite chord progressions are that sound sad. I guess the title of thread was a little bit misleading, but you don't have to assume that I know nothing about theory. That's just being an asshole.
#47
Quote by GuitarMunky
Why do you want to know?

I mean, that's not really how creating art works. You don't find "sad" chord progressions so that you can make a "sad" song. What you want to do is become experienced and proficient enough with the materials of your trade (like scales, chords...ect) to express yourself through them. When you feel like expressing "sadness" or anything at all, you'll do it based on your own opinions that you developed through experience.

Get some experience. Then you won't have to ask others how to express your own ideas/feelings.


Again, I'll admit that I ****ed up the title. WHAT ARE YOUR FAVORITE SAD CHORD PROGRESSIONS? I'm not trying to get someone to tell me their own chord progressions so that I can steal them and use them for my own songs.
#48
Quote by pinguinpanic
D Minor is the saddest key of all.


I lol'd


nice reference.
Been away, am back
#49
*WARNING OFF TOPIC POST*

I always found the chord progression Aadd2 - Dmaj7 - Esus2 - Bsus4 is nice.
#50
Quote by doive
listen to hurt - johnny cash

Quote by Union Of V
Smashes doive's head against a brick wall


why?!? i was saying that that is a sad song but not to do with the chord progression, hw is that worthy of smashage
The only 6 words that can make you a better guitarist:

Learn theory
Practice better
Practice more
#51
Quote by RCalisto
"the chord progression is next to irrelevant in determining the sound of a piece of music"

if it didn't matter, we'd still be playing like the indians.


...what?
If a chord progression was a reliable determinant of mood, than the 99% of Western popular music based on a I-IV-V progression (and the only marginally smaller percentage of art music based on functionally similar progressions) would sound nearly identical.

but you don't have to assume that I know nothing about theory. That's just being an asshole.


It was a perfectly resonable assumption given how far divorced the idea expressed by your question is from how music actually works (specifically, that the sound of a piece of music is determined by a large number of structural elements put through a subjective filter). If someone asks what kind of paper to use to make a sad painting, it's perfectly reasonable to assume that they have no idea what they're talking about.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
Last edited by Archeo Avis at Jul 9, 2009,
#52
Quote by Archeo Avis

It was a perfectly resonable assumption given how far divorced the idea expressed by your question is from how music actually works (specifically, that the sound of a piece of music is determined by a large number of structural elements put through a subjective filter). If someone asks what kind of paper to use to make a sad painting, it's perfectly reasonable to assume that they have no idea what they're talking about.

Just because we can't scientifically measure the 'happiness' or 'sadness' of a song doesn't mean it's not worth discussing.
#53
Quote by MoreNoise
Just because we can't scientifically measure the 'happiness' or 'sadness' of a song doesn't mean it's not worth discussing.


Yeah. Who said you couldn't discuss it?
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
#54
Quote by RCalisto
some just pull out philosophical questions trying to sound smarter than they really are, but there's this thing in the university, which is the majority. there is such a word as dissonance because people will find something to sound wrong or just ugly. MAJORITY is a key word, and target audience too.
Um what? No-one ever said anything about dissonance.
Quote by RCalisto
archeo is just a cocky asshole, who sometimes knows what he's talking about, but he has really no communication skills. he keeps most information to himself, and just transmits assholeness to all other people. you say around you're going to be a great composer, and you're gonna win all competitions around, but you haven't showed any compositions yet. humbleness is key in this world. which you don't yet have, and i hope for the sake of you, that you're not actually that good as you say and turn to **** because of your vanity like malmsteen
I've heard some of his compositions and they are actually quite good. Also he may be an asshole but at least he doesn't post long ramblings which don't go anywhere and have little to do with the topic at hand. And a lot of the time he raises some pretty good points
Quote by RCalisto
there's much importance in harmony, as far as i know, as it's what westerns invented, and which made such importance in music. if you go and take a look at other cultures now that communications between different civilizations was made easier, harmony has spread to most of the world. there is harmony now in most parts of the world. but now a noob in a forum says it has no importance? lol that's just plain anti-inteligence commentary. IF HARMONY WAS OF NO INTEREST IT WOULDN'T EXIST. i can't believe the amount of people in this forum which are so dumb.
stop learning other people's songs and doing exercises, and go try to improvise something, without a backing track for a change.
What are you on about? He never said anything about harmony not being important. You really need to calm down and think about what you're going to write before posting.

And yeah *reported* for flaming
.
#55
XD So much fail contained within. AA's win might not be enough to tip the scale.
Also. RC you obviously haven't heard AA's stuff. Hes a very skilled musician/songwriter and you obviously don't know your **** if you're doubting that he knows his stuff...
#56
Quote by doive
why?!? i was saying that that is a sad song but not to do with the chord progression, hw is that worthy of smashage

Because "Hurt" isn't a Johnny Cash song, it's by Nine Inch Nails.
You kids, I swear...
Quote by SteveHouse
This thread is officially about sucking Sleaze off for a sig.


Quote by tayroar
Hey Sleaze I'll give you a blowjob if you sig me. Maybe even some nudey photos?


Quote by crazy8rgood


Sleaze, that made me lulz in my pants.


Quote by 36mikeyb36
hahaha Sleaze i'd give you my mom for that one.
#57
Quote by RCalisto
this forum is filled with dumb rock wanna be's which just see past the pop or rock or reggae scene. some listen to classical too, or others just take alook at it to be more cultured, or to try to sound smarter. but most are just dumb, which aren't trying to find a future in music, so they aren't so serious about this, therefore, not studying their stuff, therefore, having to clue what they're talking about.
some just pull out philosophical questions trying to sound smarter than they really are, but there's this thing in the university, which is the majority. there is such a word as dissonance because people will find something to sound wrong or just ugly. MAJORITY is a key word, and target audience too.
archeo is just a cocky asshole, who sometimes knows what he's talking about, but he has really no communication skills. he keeps most information to himself, and just transmits assholeness to all other people. you say around you're going to be a great composer, and you're gonna win all competitions around, but you haven't showed any compositions yet. humbleness is key in this world. which you don't yet have, and i hope for the sake of you, that you're not actually that good as you say and turn to **** because of your vanity like malmsteen.
there's much importance in harmony, as far as i know, as it's what westerns invented, and which made such importance in music. if you go and take a look at other cultures now that communications between different civilizations was made easier, harmony has spread to most of the world. there is harmony now in most parts of the world. but now a noob in a forum says it has no importance? lol that's just plain anti-inteligence commentary. IF HARMONY WAS OF NO INTEREST IT WOULDN'T EXIST. i can't believe the amount of people in this forum which are so dumb.
stop learning other people's songs and doing exercises, and go try to improvise something, without a backing track for a change.


Can someone please translate this for me? All I could make out was something about dissonance (which he defined incorrectly) and something about backing tracks.
Someones knowledge of guitar companies spelling determines what amps you can own. Really smart people can own things like Framus because they sound like they might be spelled with a "y" but they aren't.
Last edited by Archeo Avis at Jul 9, 2009,
#58



Oh, by the way, archeo is pretty much right. I could go into detail, but he'll do it better than me so Ill let him

EDIT: I have an experiment for ya'll. Take a simple chord progression that you think is sad, and then plug it into noteworthy or some other program that plays the progression with ****ty midi tones. Notice how...not sad it is now?

Its because even when your just playing the chords, theres so many things your not even aware of that your doing to make them sound sad. In the end, its not so much the notes as the phrasing and just those human elements we add that is going to make something sound sad. Also, the melody and other lines are going to make a big difference too
Last edited by tubatom868686 at Jul 9, 2009,
#59
Nigel Tufnel: D minor is the saddest of all keys, I find. People weep instantly when they hear it, and I don't know why.

Marty DiBergi: It's very nice. What do you call this?

Nigel Tufnel: Well, this piece is called "Lick My Love Pump."
Obnoxious signature here
#60
Quote by corpus calosum
Nigel Tufnel: D minor is the saddest of all keys, I find. People weep instantly when they hear it, and I don't know why.

Marty DiBergi: It's very nice. What do you call this?

Nigel Tufnel: Well, this piece is called "Lick My Love Pump."


+1
This (ie dmin being the saddest of all keys) has become such a part of musical discussions (albeit as a comment in jest) that not many remember that it's a spinal tap joke, like the original guy who didnt get it (earlier on this thread).
#61
Quote by edgarvanburen
+1
This (ie dmin being the saddest of all keys) has become such a part of musical discussions (albeit as a comment in jest) that not many remember that it's a spinal tap joke, like the original guy who didnt get it (earlier on this thread).

What the hell, it's not that I didn't get it! I have seen a composer say this very thing in an essay written centuries ago! And what's more, it may actually have been true for pre equal temperament instruments.
#62
Sigh

Chord progressions are relevant, just no where near as relevant as you would think they are. Let's face it, a major progression sounds alot different to a minor progression. Minor progressions usually sound darker due to having more instability (dissonance), whereas major progressions are usually more stable and sound less in your face. This is pretty objective.
But with the same chord progression, you could write a really sad song (say, under the bridge) or a really angry song (iirc, damnit has the same progression) or a really cheesy girly pop song (amiel's love song also has the same progression). Chord progressions, therefore, have very little influence on whether a song is sad or not. imo, if T/S had a lot more experience in song writing he would have asked how to write "the saddest melodies." Melodies are by far the most influential bit of a song.
But, I've generally found that major progressions with as many minor chords as there major chords (or more minor chords than major chords) generally sound "sadder" than most other progressions. For instance, I - vi - ii - V sounds very sad to me (and it's easy to write a song with). This is completely subjective and the next poster can easily argue against it.

The thing that makes me rage the most is that when modern guys write a song, they write the chord progression first, way before they even think about melodies. Honestly guys, forget progressions. A simple I - V will suffice in most situations.

this forum is filled with dumb rock wanna be's which just see past the pop or rock or reggae scene. some listen to classical too, or others just take alook at it to be more cultured, or to try to sound smarter. but most are just dumb, which aren't trying to find a future in music, so they aren't so serious about this, therefore, not studying their stuff, therefore, having to clue what they're talking about.
some just pull out philosophical questions trying to sound smarter than they really are, but there's this thing in the university, which is the majority. there is such a word as dissonance because people will find something to sound wrong or just ugly.
The majority of music most people are exposed to is contemporary music. Therefore, the majority of people want to write contemporary music. Is that a problem?

There is nothing dumb about contemporary music and it's entirely possible to apply intelligence to it (even if many people don't). No, we are not all "dumb rock wanna be's," many of us have attempted to become musically intelligent.

You, obviously, are not one of those many, seeing as you don't know what dissonance is. Dissonance isn't subjective; it's completely objective and relates to the instability between intervals. How much you use is subjective though.
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#63
I used this for a chorus once, and liked the result -

Bm - F#m - F - F#m/Bmsus2 - Bm - F#m - F - F#m/A#dim

I'm not sure if the Bmsus2 is the correct way to write it out, but you get what I mean.
I'LL PUNCH A DONKEY IN THE STREETS OF GALWAY
Last edited by whalepudding at Jul 10, 2009,
#64
Quote by whalepudding
I used this for a chorus once, and liked the result -

Bm - F#m - F - F#m/Bmsus2 - Bm - F#m - F - F#m/A#dim

I'm not sure if the Bmsus2 is the correct way to write it out, but you get what I mean.


You use slashes when denoting the chord having a bass note other than the root. Like, Cmaj7/B would be a Cmaj7 chord with a B in the bass. When you put F#m/Bmsus2, are you trying to say F#m with a B in the bass? Or... half a measure of each F#m and Bsus2? Or... ???
#65
I meant half a measure of each, that's what I always thought it meant How should I be saying that?
I'LL PUNCH A DONKEY IN THE STREETS OF GALWAY
#66
Well, you could just write it out as you were, because often chord progressions written like this: (for example) "C - E - Am - F - G". It doesn't really denote how many measures each one gets. It's just the progression. If you want to denote the measures each one gets, you can, but usually people just care about the chords and how they fit together. Using the slash like you did isn't the correct way to do this, just letting you know.

Make sense?
#70
archeo is just a cocky asshole, who sometimes knows what he's talking about, but he has really no communication skills. he keeps most information to himself, and just transmits assholeness to all other people. you say around you're going to be a great composer, and you're gonna win all competitions around, but you haven't showed any compositions yet. humbleness is key in this world. which you don't yet have, and i hope for the sake of you, that you're not actually that good as you say and turn to **** because of your vanity like malmsteen.
[...]
IF HARMONY WAS OF NO INTEREST IT WOULDN'T EXIST. i can't believe the amount of people in this forum which are so dumb. stop learning other people's songs and doing exercises, and go try to improvise something, without a backing track for a change.



I'm so late xD

anyway wanted to say a couple of things:

1- I partially agree with you, he is an asshole and transmits mainly "assholeness" he really knows his stuff though, and.. where did he say he was going to be a great composer and win all competitions?

2- you are of no interest, yet you exist O.O
#71
you are of no interest, yet you exist O.O
Holy shit, that just blew my mind
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[U]     | \|_ |     |     .-|      [/U]
      *-|-*    (_)     `-’
        |
        L.
#72
Quote by SeEsAw12
D,A,Bm,F#,G,D,G,A


do you find cannon in D sad?
Seagull Entourage Mini Jumbo
#73
Quote by Archeo Avis
the chord progression is next to irrelevant in determining the sound of a piece of music.

Quote by Damascus
Instead of expressing comic disbelief at Archeo's idea, why don't you test the theory?
.....(blah blah)...
they 'ruined' the sound I'd established with the underlying chord progression.



Quote by Nietsche
Two people [one of whom was me] who have never heard of the concept of a melody or of subjectivity
I've heard of both of those.

Do you agree with Archeo's quote above? Do you seriously agree that a chord progression is next to irrelevant in determining the sound of a piece of music??

Before you answer I want you to think about whether you are one who in another thread might argue something like "melody is irrelevant in determining the tonal centre it is all about the chord progression/ harmony/ backing". I've seen this over and over though I can't remember exactly who would say it but if the chord progression is establishing a tonal centre surely that is far from irrelevant in the sound of a piece of music.

And why not try testing Archeo's theory. Write a melody and play the same melody with some vastly different chord progressions and see how the same melody can sound quite different with different chord progressions.
Si
#74
Every other aspect of the music being equal, different chord progressions, oddly enough, sound different. "Sad progressions" sound sad when played "sadly" and "happy progressions" sound happy when played "happily". Whoop dee doo. Let's assume TS is just not a happy guy and he's going to play any chord progression we give him the exact same "sad" way.

Yes, chord progressions are not the be all end all of moods. But I can't very well imagine someone writing something that would be considered "sad" or "soulful" entirely out of augmented chords.
#75
Quote by 20Tigers
Do you agree with Archeo's quote above? Do you seriously agree that a chord progression is next to irrelevant in determining the sound of a piece of music??


I agree with what he's really trying to tell us. Honestly, I think he's exaggerating because otherwise we wouldn't get the picture. Besides, chord progression interact melodically too, and if melody mattered, then chord progressions would also have to matter by transit.
i don't know why i feel so dry
#76
There are many, many more variables than just chord progression or melody in making a 'sad song', but they do have a huge impact. To say one has no importance in the sound of (Western) music is frankly laughable.

Looking over this thread, there's plenty of misinformation and hyperbole in it, and that's helping no one. MT always looks like a clash of egos; does no one else tire of that?
#77
Quote by 20Tigers
o you agree with Archeo's quote above? Do you seriously agree that a chord progression is next to irrelevant in determining the sound of a piece of music??


I think the chord progression is as irrelevant in determining mood as something that can be overridden (mood-wise) by a melody.

Which is, incidently, what I said in my first post - that you can establish a mood with a chord progression, but you can construct a melody to go over it that could potentially change the mood of the piece quite radically.

I've said it, now I've repeated it and I'd rather not get drawn into another ridiculous Archeo vs. The Heap argument.
Quote by Ed O'Brien
“It’s not genius. It’s just that if you want something good to come out of something, you have to put in a lot of effort. That involves a lot of hard work, and a lot of blood, sweat and tears sometimes.”

http://urbanscarecrow.bandcamp.com/
#78
Quote by Damascus
I think the chord progression is as irrelevant in determining mood as something that can be overridden (mood-wise) by a melody.

Which is, incidently, what I said in my first post - that you can establish a mood with a chord progression, but you can construct a melody to go over it that could potentially change the mood of the piece quite radically.

I've said it, now I've repeated it and I'd rather not get drawn into another ridiculous Archeo vs. The Heap argument.


If you create a melody and add a progression, the perceived mood will alter also.

Surely then, mood is a product of the two together (amongst other things) rather than one overriding the other.
#80
The d minor thingy didn't originate from spinal tap AFAIK. It's just a commonly held belief so it was used in the film.
part of the "Right-handed guitarists that are actually Left-handed otherwise " group
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