477 file audio bebas royalti untuk "Phrygian Dominant Scale"

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

Chords with a primary or secondary dominant function.

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.

Dominant seventh tritone resolution chords, As MIDI

Dominant seventh in Monteverdi's "Lasciatemi Morire" ("Oh, Let Me Die"), Lamento_d'Arianna. Created by Hyacinth (talk) 09:44, 12 January 2012 (UTC) using Sibelius 5.

Dominant seventh with root doubled and missing fifth resolving to I, in C.

Dominant seventh in C in first inversion

Dominant seventh chord on C, played on guitar in open position.

Dominant seventh chord on C, played on guitar, barre chord.

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Dominant seventh flat five chord on C - As MIDI

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.

Subtonic as secondary dominant to the mediant in minor from Brahms Op.76.7, Eight Pieces, for piano (1878).

Dominant seventh chord (V7) in C, G7.

Dominant ninth chord on C.

Freygish scale on D. Created by Hyacinth (talk) 03:16, 26 November 2011 (UTC) using Sibelius 5.

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

Dominant eleventh without third.

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

C altered scale.

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

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

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

Dominant eleventh on F in fifth inversion: B♭CE♭FGA. V11 resolves to I.

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 (V13) in F major (C E G B♭ D).

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).

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

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

Viennese trichord as dominant. Created by Hyacinth (talk) 21:31, 4 July 2010 using Sibelius 5.

Dominant form chord: Dominant flat ninth chord preceding tonic chord and possessing a primary dominant function.

Dominant thirteenth on F in sixth inversion: DE♭FGAB♭C. V13 resolves to I6.

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

Dominant seventh flat nine chord on C - As MIDI

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

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.

Istrian scale in Schubert's Symphony No. 8 in B minor (1922), 1st mvt., bars 13-20.

Istrian mode on C

Dominant seventh in Beethoven's Fifth Symphony, last movement.

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).

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.

Istrian scale, key of Istrian folkmusic, two voiced playing and singing

Dominant raised ninth flat five chord on C. C E Gb Bb D#.

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

Dominant 9th chord from "Hommage a Rameau" by Claude Debussy.

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.

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

833 cents scale step 2. 235.77 cents. 3⁄ φ {\displaystyle \varphi }  2

833 cents scale step 11 (4). 99.27 cents. φ {\displaystyle \varphi }  4⁄4 φ {\displaystyle \varphi }