3.787 file audio bebas royalti untuk "Primary And Secondary Triads"

Subdominant parallel in C major. Created by Hyacinth (talk) 04:21, 1 May 2010 using Sibelius 5.

Primay triads in c, as MIDI

Primary triad in C in just intonation. Created by Hyacinth (talk) 11:17, 22 December 2011 (UTC) using Sibelius 5.

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:

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).

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

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

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).

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.

Example of leading-tone triad (viio) and secondary leading-tone triad in Johann Sebastian Bach's Chorale: Gott der Vater wohn' uns bei (BWV 317). Identified by Forte (1979) ISBN 0-03-020756-8 as BWV 748, which is currently attributed to Johann Gottfried Walther.

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

viio/V - V - I chord progression. Common in ragtime.

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

Secondary chords in Mozart K 475.

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

Septimal major triad (14,18,21) on C (C,Eㄥ,G).

Major chord on C in just intonation (1/1, 5/4, 3/2).

D, F, Ab = C, Eb-, Gb-

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

Pythagorean major chord on C.

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

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

Diminished triad on C , as MIDI.

Just minor chord on C: 10:12:15.

Septimal minor triad on C (C,E7b,G or 6:7:9)

C major triad, played by me

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

Just major triad on C (4:5:6).

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.

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+ 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]

Root position triads from C major scale.

19th harmonic minor triad on C. MIDI pitch bend matches intervals.

Eb major triad, MIDI file

Chord progression with diminished seventh chords added.

Created using Sibelius.

Minor triad on C

Major triad on F in root position. Created by Hyacinth (talk) using Sibelius 5.

3-10 trichord on C. Diminished chord.

Augmented chord progression: I+ vi63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

3-12 trichord on C. Augmented chord.

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

Major triad on C in first inversion.

Major triad on F in second inversion

Major triad on F in first inversion