16.825 file audio bebas royalti untuk "Midi Files Of Chord Progressions"

After You've Gone by Creamer and Layton (1918) chorus, mm.24-43. Nashville number system realization on guitar.

Major triad on C in first inversion.

D-over-F-sharp slash chord.

Minor triad on A in first inversion. Created by Hyacinth (talk) 18:56, 23 November 2010 using Sibelius 5.

Minor chord on A.

Violoncello chord on D.

Common-tone diminished seventh chord in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

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

Ninth (D), in red, of a C added ninth chord. Created by Hyacinth (talk) 16:46, 4 July 2010 using Sibelius 5.

Minor eleventh chord in Herbie Hancock's "Maiden Voyage".

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

Dominant seventh raised ninth vs dominant seventh split third chord.

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

Ab-over-A slash chord.

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

Bergamesca variant, MS. Lute Book, c. 1600.

Debussy Pelleas et Melisande prelude opening.

Diminished chord in first inversion in Bach's WTC I, Prelude in G Major.

Chromatic mediant from Tchaikovsky's (1840–1893) Chant sans paroles.

Minor seventh chord on d (ii7) in C. Created by Hyacinth (talk) 07:23, 14 August 2011 (UTC) using Sibelius 5.

Half-diminished seventh chord on supertonic in C minor.

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.

Minor seventh chord on a vi7 in C. Created by Hyacinth (talk) 07:25, 14 August 2011 (UTC) using Sibelius 5.

Prometheus scale on C.

Common-tone diminished seventh chord (♯vio42, in D major: b♯o7) in Tchaikovsky's Nutcracker Suite, op. 71a, III, Valse des Fleurs, mm.1-4.

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:

Chopin's Prelude in C minor modulates within the first three measures.

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

Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 2010 using Sibelius 5.

Quintfallsequenz in Schuberts Es-Dur-Impromptu op.90,2

C major triads played on piano: 1) root position, 2) first inversion, 3) second inversion

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

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

Augmented chord progression: I+#6 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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

Augmented chord progression: I+ IV64. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: I+64 IV6. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Vergleich der Adagios von Haydn op. 64/Nr. 5 und Beethoven op. 2/1

Ausschnitte aus der Klaviersonate Nr. 3 f-Moll. op. 5, von Johannes Brahms

Periodizität in Joseph Haydn Klaviersonate Hob. XVI/1

Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

The opening eleven note chord from Aaron Copland's Inscape, without orchestration shown.

Hendrix chord.

D♭7♯11 chord = G7alt chord.

Claude Debussy String Quartet (1893) second movement opening.

Use of the pentatonic scale in Debussy's Voiles (1910), Prelude. 2, mm.43-45.

MIDI file created with GNU EasyABC of 'Make a Joyful Noise' 1900's by Herbert Hadwen Chandler (1865-1941)

Bach - Well-Tempered Clavier, Book I, Prelude I (C major, BWV 846), opening bars.

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