195 file audio bebas royalti untuk "Ragtime Progression"

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

Twelve bar blues in B, block chords. Created by Hyacinth (talk) 09:25, 17 December 2010 using Sibelius 5.

Sample of h-tonk, a tack piano that reproduces the altered version of ordinary upright piano with thumb-tacks on the hammers.

After You've Gone by Creamer and Layton (1918) verse, mm.7-23. Nashville number system realization on guitar.

Donald MacGillavry

Four-voice texture from the Genevan psalter: Old 124th. Created by Hyacinth (talk) 01:43, 30 January 2012 (UTC) using Sibelius 5.

Bergamesca ('The Buffens'), Straloch MS., c. 1600.

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

Turnaround in F. Created by Hyacinth (talk) 04:07, 12 June 2010 using Sibelius 5.

Created by Hyacinth (talk) 21:44, 22 December 2010 using Sibelius 5. vi-ii-V-I in C.

Example for a simple straightforward walking bass line over a 12-bar blues scheme

Parrallelism in music (example).

Common-tone diminished seventh chord.

Sixteen-bar progression - repeating variety: third section's first half repeated twice.

Eight bar blues progression boogie woogie bassline on middle C.

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

The chord progression of the ostinato from "Creep" played with block chords with each chord in root position within one octave.

Example of an altered chord progression in jazz.

Tritone substitution (for V). Created by Hyacinth (talk) 04:49, 10 May 2010 using Sibelius 5.

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

Tritone substitution (for V), without (with V). Created by Hyacinth (talk) 04:48, 10 May 2010 using Sibelius 5.

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

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.

Chord progression with diminished seventh chords added, without chords added yet.

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

Giovanni Benedetti's 1563 example of a comma "pump" or drift by a syntonic comma (21.51 cents) during a progression. Common tones between chords are the same pitch, with the other notes tuned in pure intervals to the common tones.

Maple Leaf Rag seventh chord resolution. Created by Hyacinth (talk) using Sibelius 5.

German sixth with 6/4 resolution, generated on Sibelius.

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

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

Chord progression of La Folia theme, a common harmonic pattern in baroque music. After chord notation provided by User:Hyacinth at en:File:Later Folia.png. Self-made with Lilypond

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

Modulation with subsidiary chord (in blue). Created by Hyacinth (talk) 02:10, 15 November 2011 (UTC) using Sibelius 5.

Chord progression with diminished seventh chords added.

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

ii-V-I turnaround in C, in four-part harmony.

ii-V-I turnaround in C, in four-part harmony.

ii-V-I turnaround in C, in four-part harmony.

Tritone substitution (for V) notated as Italian sixth.

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.

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.

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

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

Schubert - op. 29, D.804, I, mm.144-49. Enharmonic modulation using a common viio7, enharmonic in two keys.