{"id":31404,"date":"2024-04-09T01:45:48","date_gmt":"2024-04-09T05:45:48","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=31404"},"modified":"2025-12-09T11:56:23","modified_gmt":"2025-12-09T16:56:23","slug":"sad-chord-progressions-you-need-to-know","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/sad-chord-progressions-you-need-to-know\/","title":{"rendered":"11 sad chord progressions you need to know (free MIDI files included)"},"content":{"rendered":"\n<p style=\"font-size:15px\" class=\"has-text-align-center\"><strong>Illustration:<\/strong> <a href=\"https:\/\/www.nhungle.com\/\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"Nhung L\u00ea (opens in a new tab)\"><strong>Nhung L\u00ea<\/strong><\/a><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Writing sad chord progressions isn&#8217;t as simple as stringing together all of the minor chords in a key.<\/h2>\n\n\n\n<p>Rather, it&#8217;s a delicate art that involves balancing a wide array of compositional and contextual factors. In this article, we analyze 11 sad chord progressions and some songs they&#8217;re used in to identify what makes them so effective at tugging at our heartstrings.<\/p>\n\n\n\n<p>Let&#8217;s dive in!<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">What you&#8217;ll learn:<\/h3>\n\n\n\n<ul>\n<li><a href=\"#MusicTheory\"><strong>The music theory fundamentals of chord progressions<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#Examples\"><strong>11 sad chord progressions (with examples)<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#Factors\"><strong>What makes a chord progression feel sad?<\/strong><\/a><\/li>\n\n\n\n<li><a href=\"#DownloadFreeMIDI\"><strong>Download the MIDI for these sad chord progressions<\/strong><\/a><\/li>\n<\/ul>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"MusicTheory\">The music theory fundamentals of chord progressions<\/h2>\n\n\n\n<p>Before we dive into the specific chord progressions, it&#8217;s important that we have a shared understanding of some music theory fundamentals. Most notably, we&#8217;ll be using <strong>roman numerals<\/strong> (i, VI, VII, etc.) to express the individual chords in each progression.<\/p>\n\n\n\n<p>The roman numerals represent the scale degree that each chord is built off of in any given key, with the casing corresponding to whether the chord\u2019s quality is major or minor. For example, in the key of A minor, the &#8216;i&#8217; chord is an A minor chord (the triad built off of the first scale degree), the &#8216;iv&#8217; chord is a D minor chord (the triad built off of the fourth scale degree), and the &#8216;VI&#8217; chord is an F major chord (the triad built off of the sixth scale degree).<\/p>\n\n\n\n<p>Roman numerals are a valuable tool when discussing chord progressions because they help us identify and develop relationships with broad patterns without tethering them to a particular key. In turn, this also allows us to more easily translate chords to any key of our choosing when <a href=\"https:\/\/splice.com\/blog\/how-to-make-music\/\" target=\"_blank\" rel=\"noreferrer noopener\">writing our own music.<\/a><\/p>\n\n\n\n<p>If you&#8217;re looking for a more in-depth introduction to foundational topics like scale degrees, chords, and triads, check out our detailed guide below:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-wp-embed is-provider-blog-splice wp-block-embed-blog-splice\"><div class=\"wp-block-embed__wrapper\">\n<blockquote class=\"wp-embedded-content\" data-secret=\"CGnUA37ywc\"><a href=\"https:\/\/splice.com\/blog\/an-introduction-to-harmony\/\">What is harmony in music? A guide to triads, chord progressions, and scale degrees<\/a><\/blockquote><iframe class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"&#8220;What is harmony in music? A guide to triads, chord progressions, and scale degrees&#8221; &#8212; Blog | Splice\" src=\"https:\/\/splice.com\/blog\/an-introduction-to-harmony\/embed\/#?secret=vt8liQ5Ym2#?secret=CGnUA37ywc\" data-secret=\"CGnUA37ywc\" width=\"370\" height=\"209\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"has-black-color has-text-color has-background has-link-color wp-elements-f5a2734ea82e3ec51d9db4acbad33d87\" style=\"background-color:#62daff\"><a href=\"https:\/\/splice.com\/plans\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>New subscribers can try all of Splice\u2014including 200 monthly sample download credits, full access to all premium INSTRUMENT presets, and more\u2014for $4.99\/mo.<\/strong><\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Examples\">11 sad chord progressions (with examples)<\/h2>\n\n\n\n<p>Without further ado, let&#8217;s get into analyzing some sad chord progressions. Each progression below is expressed via a piano roll image and an audio example that are in the key of the track it&#8217;s paired with. For consistency, we&#8217;ve kept all of the chords in <strong>root position<\/strong> (a voicing where the root note that the chord is built off of is the bass note) and as simple triads occupying one bar each at a consistent BPM. That said, note that there might be some flourishes in the piece of music they&#8217;re featured in (many of which we&#8217;ll discuss).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">1. i &#8211; III &#8211; VII &#8211; VI<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Hello-1024x784.png\" alt=\"The i - III - VII - VI chord progression expressed in MIDI (from the Splice blog: &quot;11 sad chord progressions you need to know&quot;)\" class=\"wp-image-31462 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Hello-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Hello-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Hello-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Hello-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Hello.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Hello.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The i &#8211; III &#8211; VII &#8211; VI chord progression can be heard in the iconic verses of Adele&#8217;s &#8220;Hello.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/62PaSfnXSMyLshYJrlTuL3?si=210ce990eee54b67\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>This progression is characterized by its ending on a VI chord prior to going back to the i chord, which creates a bit of an incomplete feeling. In &#8220;Hello,&#8221; this effectively synergies with the theme of the lyrics, which depict a heart-tugging phone call full of both hesitation and resolve. The block chord voicing in a lower register on the piano is also key in establishing a sense of heavy sadness.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">2. i &#8211; VI &#8211; VII &#8211; v<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/My-Immortal-1024x784.png\" alt=\"The i - VI - VII - v chord progression expressed in MIDI (from the Splice blog: &quot;11 sad chord progressions you need to know&quot;)\" class=\"wp-image-31463 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/My-Immortal-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/My-Immortal-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/My-Immortal-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/My-Immortal-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/My-Immortal.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/My-Immortal.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The i &#8211; VI &#8211; VII &#8211; v chord progression can be heard in the chorus of Evanescence&#8217;s timeless &#8220;My Immortal.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/4UzVcXufOhGUwF56HT7b8M?si=eaf2d8d51e144ab7\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>&#8220;My Immortal&#8221; adds drama and devastation to the i &#8211; VI &#8211; VII &#8211; v chord progression with its arrangement\u2014the swelling strings and piano accompaniment come together to voice the pitches within each chord across a very wide register. Like &#8220;Hello,&#8221; a bit of syncopation is also utilized that helps add movement to the progression.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">3. i &#8211; VI &#8211; III &#8211; VII<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Name-Of-Love-1024x784.png\" alt=\"The i - VI - III - VII chord progression expressed in MIDI (from the Splice blog: &quot;11 sad chord progressions you need to know&quot;)\" class=\"wp-image-31464 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Name-Of-Love-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Name-Of-Love-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Name-Of-Love-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Name-Of-Love-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Name-Of-Love.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Name-of-Love.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The i &#8211; VI &#8211; III &#8211; VII chord progression can be heard in the intro and verses of &#8220;Name of Love,&#8221; an ending song from the hit anime <em>Attack On Titan<\/em>.<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/1y9QiBBJynizfLbYjHM2Sg?si=dfa5a4f3e94144c7\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>While this chord progression is used incredibly broadly, &#8220;Name of Love&#8221; adds a feeling of grandness to it by also employing a suspended 4-3 motion over the VII chord. The delicate but unwavering arpeggiated line in the right hand of the piano arrangement also contributes to a tragic but gentle quality that makes the progression (and the song at large) such a perfect fit in respect to its placement in the show.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">4. i &#8211; VII &#8211; VI &#8211; VII<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Somebody-That-I-Used-to-Know-1024x784.png\" alt=\"The i - VII - VI - VII chord progression expressed in MIDI (from the Splice blog: &quot;11 sad chord progressions you need to know&quot;)\" class=\"wp-image-31468 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Somebody-That-I-Used-to-Know-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Somebody-That-I-Used-to-Know-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Somebody-That-I-Used-to-Know-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Somebody-That-I-Used-to-Know-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Somebody-That-I-Used-to-Know.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Somebody-That-I-Used-to-Know.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The i &#8211; VII &#8211; VI &#8211; VII chord progression can be heard in the chorus of Goyte and Kimbra&#8217;s &#8220;Somebody That I Used to Know.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/4wCmqSrbyCgxEXROQE6vtV?si=f57fad5001fa4023\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>This chord progression is characterized by its step-wise descending motion, which turns around with the second VII chord that smoothly ties back to the i chord. The guitar in &#8220;Somebody That I Used To Know&#8221; draws attention to this distinctive motion by voicing the root note prominently on the downbeats of each bar. While the song&#8217;s arrangement isn&#8217;t as dramatic as something like &#8220;Hello&#8221; or &#8220;My Immortal,&#8221; the sparse instrumentation is used intentionally to instill a feeling of emptiness and highlight Gotye and Kimbra&#8217;s mesmerizing vocals.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">5. VI &#8211; VII &#8211; i &#8211; i<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/ocean-eyes-1024x784.png\" alt=\"The VI - VII - i - i chord progression expressed in MIDI\" class=\"wp-image-31465 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/ocean-eyes-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/ocean-eyes-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/ocean-eyes-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/ocean-eyes-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/ocean-eyes.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/ocean-eyes.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>Chord progressions don&#8217;t always need to start with the i chord\u2014let&#8217;s examine a couple examples that begin with the VI chord, starting with the VI &#8211; VII &#8211; i &#8211; i progression that&#8217;s heard throughout Billie Eilish&#8217;s haunting &#8220;ocean eyes.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/7hDVYcQq6MxkdJGweuCtl9?si=3de3f4141554437b\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>In direct contrast to the i &#8211; VII &#8211; VI &#8211; VII chord progression of &#8220;Somebody That I Used To Know,&#8221; the VI &#8211; VII &#8211; i &#8211; i chord progression features a clear ascending motion. Billie Eilish uses this chord progression to great effect in &#8220;ocean eyes,&#8221; juxtaposing the ascending chords with a descending vocal texture. Some subtle suspended notes bring additional emotional nuances, and every fourth repetition is varied by the introduction of a III chord that creates a sense of resolution.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">6. VI &#8211; VII &#8211; v &#8211; i<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"785\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sakura-1024x785.png\" alt=\"The VI - VII - v - i chord progression expressed in MIDI\" class=\"wp-image-31467 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sakura-1024x785.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sakura-400x307.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sakura-332x255.png 332w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sakura-768x589.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sakura.png 1339w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/785;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sakura.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The VI &#8211; VII &#8211; v &#8211; i chord progression can be heard in the chorus of Ikimonogakari&#8217;s &#8220;SAKURA.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/1lTfD2M6UpJRWi3YLb8qb5?si=e5880a3c9c754bab\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>Also known as the <strong>Royal Road Progression,<\/strong> the VI &#8211; VII &#8211; v &#8211; i progression (or IV &#8211; V &#8211; iii &#8211; vi if interpreted in its relative major key) is <a href=\"https:\/\/www.youtube.com\/watch?v=6aezSL_GvZA\" target=\"_blank\" rel=\"noreferrer noopener\">an absolute staple in J-pop and J-rock music in particular.<\/a> The distinctive VII &#8211; v \/ V &#8211; iii motion delays the resolution of the progression, which goes well with the feeling of going on a winding emotional journey. In &#8220;SAKURA,&#8221; the IV chord is also voiced with a major seventh, which is a common move that adds even more melancholy undertones to the music.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">7. VI &#8211; VII &#8211; i &#8211; v<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/We-Dont-Talk-Anymore-1024x784.png\" alt=\"The VI - VII - i - v chord progression expressed in MIDI\" class=\"wp-image-31469 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/We-Dont-Talk-Anymore-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/We-Dont-Talk-Anymore-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/We-Dont-Talk-Anymore-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/We-Dont-Talk-Anymore-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/We-Dont-Talk-Anymore.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/We-Dont-Talk-Anymore-1.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The VI &#8211; VII &#8211; i &#8211; v chord progression can be heard all over Charlie Puth and Selena Gomez&#8217; &#8220;We Don&#8217;t Talk Anymore.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/37FXw5QGFN7uwwsLy8uAc0?si=ae7a074a59d043e5\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>The v chord feels like the most distinctive chord in this progression. In this instance, the chord could be substituted by a VII chord, and fills a similar role to it\u2014it shares two notes in common, which smoothly resolve to pitches in both the i chord as well as the VI chord. However, the minor chord quality gives it that extra sad flavor that perfectly supports the themes of a song like Charlie Puth and Selena Gomez&#8217; &#8220;We Don&#8217;t Talk Anymore.&#8221;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">8. VI &#8211; VII &#8211; III &#8211; VI<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Chandelier-1024x784.png\" alt=\"The VI - VII - III - VI chord progression expressed in MIDI\" class=\"wp-image-31460 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Chandelier-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Chandelier-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Chandelier-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Chandelier-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Chandelier.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Chandelier-1.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The VI &#8211; VII &#8211; III &#8211; VI chord progression can be heard in the chorus of Sia&#8217;s powerful &#8220;Chandelier.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/2s1sdSqGcKxpPr5lCl7jAV?si=2d7a51c8445f4373\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>There&#8217;s no rule that says a chord can&#8217;t be repeated consecutively in a progression, and in &#8220;Chandelier,&#8221; the still harmonic motion between the two VI chords in the VI &#8211; VII &#8211; III &#8211; VI progression is beautifully paired against Sia&#8217;s soaring vocals to establish an excruciating dramatic quality.<\/p>\n\n\n\n<p>While our piano roll examples are in root position, &#8220;Chandelier&#8221; also notably voices the III chord in <strong>first inversion<\/strong>, or with the third as the bass note, which gives it some qualities that are reminiscent to the v chord in something like the Royal Road Progression.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">9. VI &#8211; iv &#8211; i &#8211; v<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"786\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Decode-1024x786.png\" alt=\"The VI - iv - i - v chord progression expressed in MIDI\" class=\"wp-image-31461 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Decode-1024x786.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Decode-400x307.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Decode-332x255.png 332w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Decode-768x590.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Decode.png 1336w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/786;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Decode-1.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>The VI &#8211; iv &#8211; i &#8211; v chord progression can be heard in the chorus of Paramore&#8217;s &#8220;Decode.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/1ZLtE9tSJdaUiIJ9YoKHQe?si=19af277a76864773\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>This progression stands out from the others in its use of the iv chord. Similar to how the v chord can often serve as an alternate option to a VII chord, the iv chord is kind of like a somber sibling to the VI chord, sharing two pitches and a predominant function in common. In &#8220;Decode,&#8221; Paramore use this chord to create meaningful motion from the preceding VI chord, while also infusing the track with a uniquely dark atmosphere.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">10. I &#8211; iii &#8211; IV &#8211; IV<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/What-Was-I-Made-For-1024x784.png\" alt=\"The I - iii - IV - IV chord progression expressed in MIDI\" class=\"wp-image-31470 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/What-Was-I-Made-For-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/What-Was-I-Made-For-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/What-Was-I-Made-For-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/What-Was-I-Made-For-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/What-Was-I-Made-For.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/What-Was-I-Made-For.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>Sadness isn&#8217;t a quality that&#8217;s exclusive to chord progressions in minor keys; for our final two examples, let&#8217;s take a look at some major key examples, starting with the I &#8211; iii &#8211; IV &#8211; IV chord progression heard in the chorus of Billie Eilish&#8217;s &#8220;What Was I Made For.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/6wf7Yu7cxBSPrRlWeSeK0Q?si=74853c73615b4b0e\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>The stirring vocal performance, introspective lyrics, and delicate piano performance all come together to create an unmistakably lonely, heartbreaking effect. Yet, the major quality maintains a hint of hope, which beautifully captures the co-existence of the ideas of &#8220;I don&#8217;t know how to feel&#8221; and &#8220;But someday I might.&#8221; Like in &#8220;SAKURA,&#8221; the IV chord here is also complicated by a major seventh, which adds to the unresolved feeling.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">11. I &#8211; V &#8211; IV &#8211; I<\/h3>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" width=\"1024\" height=\"784\" data-src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Oh-Well-Oh-Well-1024x784.png\" alt=\"The I - V - IV - I chord progression expressed in MIDI\" class=\"wp-image-31466 lazyload\" data-srcset=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Oh-Well-Oh-Well-1024x784.png 1024w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Oh-Well-Oh-Well-400x306.png 400w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Oh-Well-Oh-Well-333x255.png 333w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Oh-Well-Oh-Well-768x588.png 768w, https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Oh-Well-Oh-Well.png 1340w\" data-sizes=\"(max-width: 1024px) 100vw, 1024px\" src=\"data:image\/svg+xml;base64,PHN2ZyB3aWR0aD0iMSIgaGVpZ2h0PSIxIiB4bWxucz0iaHR0cDovL3d3dy53My5vcmcvMjAwMC9zdmciPjwvc3ZnPg==\" style=\"--smush-placeholder-width: 1024px; --smush-placeholder-aspect-ratio: 1024\/784;\" \/><\/figure>\n\n\n\n<figure class=\"wp-block-audio alignwide\"><audio controls src=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Oh-Well-Oh-Well.mp3\" preload=\"auto\"><\/audio><\/figure>\n\n\n\n<p>Last but not least, let&#8217;s take a look at the I &#8211; V &#8211; IV &#8211; I chord progression, which kickstarts the verses of Mayday Parade&#8217;s pop punk anthem, &#8220;Oh Well, Oh Well.&#8221;<\/p>\n\n\n\n<figure><iframe src=\"https:\/\/open.spotify.com\/embed\/track\/4v1DBjXexqj9YCvGKOWEY1?si=203f4cd568b745de\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\"><\/iframe><\/figure>\n\n\n\n<p>A total departure from some of our other examples, this chord progression is about as major and bright-sounding as a chord progression can be\u2014and indeed, the I &#8211; V &#8211; IV &#8211; I progression is also used in many other songs that we would readily classify as totally &#8216;happy&#8217; songs. So what makes it feel so sad here? <\/p>\n\n\n\n<p>The juxtaposition with the lyrics and vocal delivery is everything\u2014as the narrative unfolds, we begin to realize that we&#8217;re reflecting back on a story of irreversible tragedy, but we&#8217;re trying our best to fight through the heartache and look at things positively (hence the major harmonic language and the title, &#8220;Oh Well, Oh Well&#8221;).<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\" id=\"Factors\">What makes a chord progression feel sad?<\/h2>\n\n\n\n<p>So, what makes sad chord progressions feel so sad? As we saw from our examples, the reality is that the answer lies in the sum of all of the context surrounding them\u2014everything from the accompanying melodies to lyrics, instrumentation, tempo, rhythm, dynamics, sound design, production, and much, much more. While the 11 progressions we examined each have effective examples and some compositional qualities that can help us identify why we might associate a sense of sadness with them, if placed in different contexts, they could also absolutely feel hopeful, empowering, or optimistic.<\/p>\n\n\n\n<p>This might not be the clear, one-case-fits-all answer we might&#8217;ve been looking for, but this nuance and depth is what ultimately makes music creation so fascinating and rewarding as a lifelong pursuit.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"DownloadFreeMIDI\">Download the MIDI for these sad chord progressions<\/h3>\n\n\n\n<p>If you&#8217;re looking to develop your own contexts for any of the chord progressions above, you can <a href=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/Sad-Chord-Progressions.zip\" target=\"_blank\" rel=\"noreferrer noopener\">download all of the MIDI files for absolutely free here.<\/a> Feel free to also use the chord progression samples below as starting points for your next track.<\/p>\n\n\n\n<p>And there you have it! We hope this article gave you some ideas around sad chord progressions that can spark your creativity the next time you&#8217;re making music. Do you have any questions on any of the topics we covered? What would you like to see us discuss next? Start a conversation with us and an engaged community of other music creators via <a href=\"https:\/\/splice.com\/features\/community\" target=\"_blank\" rel=\"noreferrer noopener\">the Splice Discord.<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"has-text-align-center\">Explore sad chord progressions that you can incorporate into your own productions:<\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button aligncenter\"><a class=\"wp-block-button__link wp-element-button\" href=\"https:\/\/splice.com\/sounds\/collections\/myAk8J2OppsUE7WrV3eNQQMMZRA\" target=\"_blank\" rel=\"noreferrer noopener\">Explore the sounds<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>We analyze 11 sad chord progressions and some songs they&#8217;re used in to identify what makes them so effective at tugging at our heartstrings.<\/p>\n","protected":false},"author":33,"featured_media":31431,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1886,1889,1699,1696],"tags":[1749,1633,1641,1766,641,1307,1784,1254],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>11 Sad Chord Progressions You Need to Know - Blog | Splice<\/title>\n<meta name=\"description\" content=\"We analyze 11 sad chord progressions and some songs they&#039;re used in to identify what makes them so effective at tugging at our heartstrings.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/splice.com\/blog\/sad-chord-progressions-you-need-to-know\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"11 Sad Chord Progressions You Need to Know - Blog | Splice\" \/>\n<meta property=\"og:description\" content=\"We analyze 11 sad chord progressions and some songs they&#039;re used in to identify what makes them so effective at tugging at our heartstrings.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/splice.com\/blog\/sad-chord-progressions-you-need-to-know\/\" \/>\n<meta property=\"og:site_name\" content=\"Blog | Splice\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Splice\" \/>\n<meta property=\"article:published_time\" content=\"2024-04-09T05:45:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-12-09T16:56:23+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/0324-Sad-Chord-Progressions_BlogPost-1024x640.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"640\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Harrison Shimazu\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@https:\/\/bitly.com\/namaboku-twt\" \/>\n<meta name=\"twitter:site\" content=\"@splice\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Harrison Shimazu\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"11 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/splice.com\/blog\/sad-chord-progressions-you-need-to-know\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/splice.com\/blog\/sad-chord-progressions-you-need-to-know\/\"},\"author\":{\"name\":\"Harrison Shimazu\",\"@id\":\"https:\/\/splice.com\/blog\/#\/schema\/person\/1ed73f890efad66c4808440680e9e50d\"},\"headline\":\"11 sad chord progressions you need to know (free MIDI files included)\",\"datePublished\":\"2024-04-09T05:45:48+00:00\",\"dateModified\":\"2025-12-09T16:56:23+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/splice.com\/blog\/sad-chord-progressions-you-need-to-know\/\"},\"wordCount\":2017,\"publisher\":{\"@id\":\"https:\/\/splice.com\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/splice.com\/blog\/sad-chord-progressions-you-need-to-know\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/splice.com\/blog\/wp-content\/uploads\/2024\/04\/0324-Sad-Chord-Progressions_BlogPost.png\",\"keywords\":[\"collections\",\"composition\",\"intermediate\",\"j-pop\",\"MIDI\",\"pop\",\"rock\",\"sounds\"],\"articleSection\":[\"Free\",\"Free MIDI\",\"Music Theory\",\"Tips &amp; 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