164 безплатни аудиофайлове за "Dominant"

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

Augmented dominant seventh chord on C

C Phrygian dominant scale. Created by Hyacinth (talk) 00:37, 5 July 2010 using Sibelius 5.

Mozart - Mass in C Minor (Hesketh) - 5 Domine Deus

Secondary dominants in Beethoven's Symphony No. 1, introduction.

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

A dominant thirteenth in F minor. Created by Hyacinth (talk) using Sibelius 5.

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

Dominant thirteenth chord in four-part writing.

Dominant thirteenth: four-voice version.

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.

Dominant minor ninth chord on C: C,E,G,Bb,Db. Created by Hyacinth (talk) 23:07, 14 December 2011 (UTC) using Sibelius 5.

Versão eletrônica do moteto do Padre José Maurício Nunes Garcia, Domine Jesu

Beta scale dominant seventh chord on C. Created by Hyacinth (talk) 07:35, 12 April 2011 (UTC) using Sibelius 5 with midi pitch bend. Pitch bend appears to match intervals.

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

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

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

Dubstep, dominant clap, short bass rhythm.

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:

viio7 as dominant substitute.

Toilet flushing, recorded with se x1. Dominic smith.

W. A. Mozart - Requiem, K. 626 (Bruno Walter, Wiener Philharmoniker, Wiener Staatsopernchor, 1956) - 09. Domine Jesu

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

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.

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

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

This file has no description, and may be lacking other information. Please provide a meaningful description of this file.

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.

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

Morning birds in rural quiet town centre - dominated by crows.

ii-V substitution.

C altered scale.

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

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.

Two acoustic snares layered, added reverb, recorded with se x1 condenser mic and shure sm58. Dominic smith.

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 summer brook in a forest in central europe. With some birds as well but the water running down little rocks and stones dominates.

Sean smith, dominic smith, kaleigh miles, alex hughes, joe dudley + alistair beecham.

Sean smith, dominic smith, joe dudley, kaleigh miles, alex hughes + alistair beecham.

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

Acoustic drum loop, at 120 bmp. Sean smith, alistair beecham, alex hughes, joe dudley, dominic smith + kaleigh miles.

Recorded on an iphone on a trip to the philippine island of dumaguete. Early morning ambiance dominated by the incredible amount of chickens on the island.