1 327 zvukové soubory bez licenčních poplatků pro "Chords"

Minor chord progression on mic'd acoustic guitar with a dirty sounding echo.

iii7 as tonic substitute. Created by Hyacinth (talk) 16:16, 14 July 2010 using Sibelius 5.

Standard open a major bar chord (e major formation). Down strum. If any of these samples have any errors or faults, please tell me.

Barbershop bell chord. Pitch bend matches just intervals.

Diatonic mediant/submediant chord progression: I iii I (mediant, in major).

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Analoge string. Tools: jd800.

iv IV I V chord progression.

Choris effect, simple chord moderate strumming.

C chord progression in 7/4 time at 150 bpm.

Deep techno chord 120bpm, made in logic x.

Chord stab made in fl studio.

Clicky organ chords.

Last chord of Anger's Tintamarre (The Clangor of Bells) (1911).

Chord synth sound created on the voltage modular plug-in.

A Hard Day's Night opening chord: F9. Created by Hyacinth (talk) 03:11, 14 September 2012 (UTC) using Sibelius 5.

Augmented chord progression: I+65 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified].

Claude Debussy's Premiere Arabesque melody and chords abstracted from that melody.

Secondary chords in Maria Wolowska Szymanowska's Nocturne in B-flat Major, mm.1-5.

Werckmeister temperament major chord on C.

Gutar chord recorded in the audio line with tremolo handle. Reverb effect was added. Electric guitar washburn ps 7200.

A vocal chord with crescendo and diminuendo ending with some pan flute recorded in big concert hall with olympus ls 11.

Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).

A C chord on a drawbar organ.

Shave and a Haircut in G with chords. Triplet swing.

120 bpm midi synth chords in e-minor, 8 measures and loop-able.

Here is a simple chord progression (d dorian) from a synth designed in reason´s europa.

Chord stab useful for any trippy tunes.

Two dark-sounding, organ-like synth chords.

Neapolitan sixth in C minor.

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

Dominant thirteenth: four-voice version.

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Power chords in progression create parallel fifths, though the prohibit is not relevant since there is not intention to create independent voices. Created by Hyacinth (talk) 03:21, 29 January 2012 (UTC) using Sibelius 5.

vi7 as tonic substitute. Created by Hyacinth (talk) 16:17, 14 July 2010 using Sibelius 5.

Different minor 9th (neo-soul) chords, inverted. E-piano.

Borrowed chord (viio) in Mozart K. 576, II: Adagio, mm.13-16.

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

Some punches and touches on piano.

A chord processed, sounds like a guitar, high pitched.

viio7 in G major, on the guitar.

A rhythmically vocoded synth chord progression.

Dirty rhodes piano chord - f major with a in the bass.

Crispy chords from the e major scale.

Ives quarter tone fundamental chord.

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

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]