119 безплатни аудиофайлове за "Dominant"

Bebop dominant scale in C. Created by Hyacinth (talk) using Sibelius 5.

Extended dominant relationship in Schubert's German Dance, D. 643, opening.

Augmented dominant seventh raised ninth on C. C E G♯ B♭ D♯.

Dominant seventh chord on G: G B D F. In root position, 1st inversion, 2nd inversion, and third inversion, then at the octave in root position.

Dubstep, dominant clap, short bass rhythm.

Excerpt from Mendelssohn's Op. 102, No. 3, mm. 47-49. Original work is public domain, image by the uploader.

Seventh of a dominant seventh chord in C. Created by Hyacinth (talk) 22:57, 13 May 2010 using Sibelius 5.

Secondary dominants in Beethoven's Op. 14 No. 2, mov. II, mm.16-19.

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

viio7 as dominant substitute.

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

Secondary dominant with barbershop seventh chords. V/V - V - I in F major (G7-C7-F). Derived from [1]. In just intonation. Sevenths are harmonic sevenths, and the F in the first measure is 27.26 cents lower than the F in the third measure. Pitch bend matches intervals.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Leading-tone half-diminished seventh chord as dominant in Mozart, Piano Sonata in D Major, III (end of Variation V), K. 284, mm.14-17.

ii-V substitution.

Extended dominants/successive secondary dominants in Chopin's Op. 26, no. 1, mm.62-63. V/ii = V/V/V, V/vi = V/V/V/V.

C altered scale.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

An example of how the subtonic serves as a secondary dominant to the mediant (in A minor: G is the dominant of C). From Bach's Chorale Ach wie flüchtig, ach wie nichtig, BWV 26. It is a reduction of the opening of the "Choral" or sixth movement.

Modulation to the dominant in Haydn's Symphony in C Major, No. 97, Movement III Menuetto, measures 0-8 (piano reduction). Compiled from Murphy, Melcher, and Warch (1973). Music for Study, p.115. ISBN 0-13-607515-0; August Horn's piano reduction; and Howard Chandler Robbins Landon's full score edition. Roman numeral analysis added.

The secondary dominant chords of the key of C major, each given before the chord of which it is the dominant. Digital recording, made with an acoustic piano and Wavesurfer software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by Opus33 into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

Dominant thirteenth chord in Claude Debussy's Prelude to the Afternoon of a Faun (1894). Created by Hyacinth (talk) 02:50, 5 July 2009 using Sibelius 5.

Chord rewrite rules I: replacement or substitution of a chord by its dominant or subdominant.

Example of modulation to the dominant from vocal music (1836).

Altered dominant played twice then resolved to the tonic. Created using Sibelius and Audacity.

A sudden laughter by a boy and a girl. Female voice is dominant. Recorder live during an interview.

The Carpenters chord notated in C Major. Dominant 9sus4 chord in C major: G9sus4.

Snippet from my unreleased track bobber. Characteristics:- 4 the floor kickdrum- filtered buzzing synths- dominant snare.

Example of the submediant ("triad on VI") used as a dominant preparation.

Here is a short bite of "i will destroy the world. " my son recorded this and i processed it in adobe audition.

Dominant eleventh chord on C, C11, with third. V11 in F major. Created by Hyacinth (talk) using Sibelius 5.

Jacob Hintze: Kanon In te, Domine, speravi: non confundar in aeternum (Schlussvers des Te Deum)

VI7 in C minor. Created by Hyacinth (talk) 15:26, 2 July 2011 (UTC) using Sibelius 5.

V-I progression, unaltered dominant resolving to the tonic. Created by Hyacinth (talk) 22:29, 9 July 2008 using Sibelius and Audacity.

Bekehre uns, vergib die Sünde; Gotteslob (1975) 160; Gotteslob (2013) 266

Secondary leading tone in Beethoven Sonata in C for piano Op. 53, first movement.

[Dominant] eleventh chord in F, on C (C11). "As it appears in actual music": C, —, G, B, D, F.

Melchior Franck: Da pacem, Domine, in diebus nostris, vierstimmiger Kanon, in Tonika- und Dominantlage kombiniert

Dominant seventh flat nine chord on C. Created by Hyacinth (talk) 17:06, 10 July 2008 using Sibelius.

Voice leading for dominant eleventh chords in the common practice period. Created by Hyacinth (talk) 23:16, 6 July 2009 using Sibelius 5.

An evil woman describes what is achieved by causing someone pain. Just me, audacity and a microphone.

Dominant thirteenth: four-voice version. "This disposition is typical." Created by Hyacinth (talk) 18:33, 30 May 2011 (UTC) using Sibelius 5.

MIDI rendering of first ten bars of psalm motet "Domine, ne in furore" by Josquin des Prez. See File:Josquin Domine ne in furore.pdf for source.

V of V chord progression in "Sweet Georgia Brown". V/V/V-V/V-V-I: A-D-G-C. Note that the tempo is kept but the number of measures is cut in half.

Picardy third in Bach - BWV 81.7, mm. 12-13. Created by Hyacinth (talk) 00:21, 13 July 2011 (UTC) using Sibelius 5.

Sequential modulation through the circle of fifths in Haydn, Quartet Op. 3, No. 3, IV, Hob.III:15 (now considered spurious, perhaps by Roman Hoffstetter).

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

V43 for comparison with viio6 as a substitute for V43 in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

A stereo recording of a very large, well-known, long-time apple festival in illinois. Primarily a dominant sound of the popular shoot-water-game. Recording made originally at 96hz using sound devices 702 and the audio-technica bp4025 stereo microphone. Lots of childhood memories ambiance in the background.

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).