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"Correct music-theory way" lol
It's just plain textbook definition of scales and modes having "certain magical properties".
*This one* is "sad"; that one is "dramatic", "serious", "hymn-like", "exotic". I'm sure there's a list somewhere.

"Titanium" by David Guetta, maybe? It's kinda "sad" but is in major progression. Or Katy Perry with "Hot 'n' Cold", it's a "woohoo" song in minor all the way (even the bridge).

I, personally, don't think it's "exact". But, in order to get into higher degree music education, you have change the mood of a certain piece during an audition. Happy to sad to angry. Major to minor+down-tempo to up-tempo+staccato.

Hot and Cold is a good one, yeah. w/r/t music theory, I was mostly asking if there was a better way to say major/minor tonic. I'm pretty sure I just made up that terminology, lol

Oh wow, I seem to have missed this. My deduction is that I am more awesome than you both at feeling the true tone of a melody, because I am the very greatest ever to exist :D
I don't off the top of my head remember any examples either actually, but I can compose tracks of all mentioned kinds and more. Worth to mention is that if you want a major chord based track to sound sad, it'll probably feel sad in a more sentimental way (our emotions are quite complex), and you'd probably end up using some Major 7 chords (or rather, the normal chord in the base, but the melody would end up crossing notes which turned the chord around a bit) to achieve that effect, along with some other small tricks here and there.
What also helps, if you don't stick to a defined scale, but borrow chords from other scales; while still being major chords, they will add a contrast between notes and the previous scale, that if used correctly, can achieve a sad tone.

It's pretty easy to turn tracks with minor chords into happier sounding tracks though, simply by picking the right melody and rhythm. I'll probably upload some examples of both of these some day when I get time :p
That is, I will not use a single minor chord in the sad song, and not a single major chord in the happy one. I will only use the piano though, which makes it much more difficult :)

P.S. While I agree that Fox in the Snow Bell sounds sad (much bescause of the singing and intrument choice), I don't find Range Life to sound much happy at all. Catchy =/= happy D:<

Ehh... Anyway... I should go to sleep... :p

> I can compose tracks of all mentioned kinds and more

Ahhahaha. Nah you totally don't have a big ego. :D

I agree, it's not particularly hard to do, but it's still interesting because it turns our preconceived notions about happy/sad and major/minor completely on their head.

Looking forward to your examples tho. :>

> I don't find Range Life to sound much happy at all. Catchy =/= happy D:<

Yeah, I think you're right, honestly, but when I first found tabs for the track - not listening to the progression with a critical ear or anything, just enjoying the song - I was just so taken aback that it was straight minor chords. It's hard to convey because when I show it to other people under the pretext of "is this major or minor" they will not be listening to it with the same non-analytical mindset that I was.

> Fox in the Snow Bell

hehe, the song is "Fox in the Snow" and it's by "Belle and Sebastian". So sad though. ;_;

Whoops, I of course meant that it's pretty easy to write SAD songs with MAJOR chords. Not the other way around (Me tired) :p
As for the melody and rhythm though, that'd be the tools for turning a minor chord based track more positive (Like a polka or something, but they're not necessarily happy; just less sad).

Truth. It is a lot harder to turn minor into happy than major into sad, for some reason. i think that part of the reason is that major is just used more, in general.