293 file audio bebas royalti untuk "Stomp Progression"

Alguns passos na brita, gravado com um zoom h4 no pátio do centro de artes da ufpel. Esse som foi gravado pelo grupo cinema vocal, para conhecer mais sobre nós acesse: http://cinemavocal. Blogspot. Com. Br/. ----------------------------------------------------------------------------------a few steps in crushed stone, recorded with a zoom h4 in the courtyard of centro de artes of ufpel. This sound was recorded by the group cinema vocal, to know more about us access:http://cinemavocal. Blogspot. Com. Br/.

Binaural field-recording of my upstairs neighbors stomping from early in the morning until late in the afternoon. The recording is made in the bathroom, so, you can hear an interesting reverb and resonances.

Check out other sounds on my website: https://jakeeaton. Bandcamp. Com/.

Bob Dylan's "Lay, Lady, Lay" verse.

vi-IV-I-V chord progression in C. Created by Hyacinth (talk) 23:43, 25 March 2010 using Sibelius 5. vi-IV-I-V progression resolving to I.

IV-V-I chord progression in C. MIDI file Progression d'accords. Fichier midi.

Chord rewrite rules II: use of chromatic passing chords.

Created by Hyacinth (talk) 19:12, 18 January 2011 using Sibelius 5.

iv IV I V chord progression.

Harmonic progression from a Mozart piano sonata--sound file. Piano Sonata in G, K. 283, third movement, starting measure 247. Digital recording by Opus33 using Wavesurfer software. Transcription into chords by Opus33, loosely following Piston and DeVoto, Harmony. This music is in the public domain. The recording is not copyrighted, and it is hereby released by its creator (known in this context by the pseudonym 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 rewrite rules I: replacement or substitution of a chord by its dominant or subdominant.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

Montgomery-Ward bridge in C (I7-IV7-ii7-V7). Created by Hyacinth (talk) 06:58, 11 June 2010 using Sibelius 5.

tonale Quartfallsequenz

Audio sample which exemplifies Andalusian cadences, as shown in the article (see the picture below the Structure section). Recorded using an emulated acoustic Steinway piano through the Sound Font 2 technology, on August 9th, 2007 and released into public domain in the same day.

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

reale Quartfallsequenz

ii-V substitution.

Group of students pounding on their desks. Sounds like a heavy downpour.

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Fast & slow walking sequence of a battle mech.

V42 of V - V - I in C. Created by Hyacinth (talk) 14:09, 15 May 2010 using Sibelius 5.

There was a foley (of the then cranky closet of mine i was fiddling with) lying around in my hard drive i recorded some time ago. I pitched it down several times, stacked up in multiple layers & went on to process the layers individually.

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

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

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

V65 of V in C, four-part harmony. Reduced from Chopin.

V of V in C, four-part harmony. Reduced from Chopin.

V of V in C, four-part harmony. From Bach.

V of V in C, four-part harmony. Bruce Benward and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition: p.269. ISBN 978-0-07-294262-0.

V/V-V-I in C, in four-part harmony.

viio7 as dominant substitute.

Chord progression with a borrowed chord second to last: iv or Fm in C major.

Tritone substitution. ii7-Vb7/V-IM7 instead of ii7-V7-IM7.

Quartal chords descending by semitone. Created by Hyacinth (talk) 21:48, 2 February 2012 (UTC) using Sibelius 5.

ii7-V7-IM7, for comparison with a tritone substitution (ii7-Vb7/V-IM7).

♯IIo7 as dominant substitute.

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.

I - ♭VII - ♭VI - ♭VII in C. Created by Hyacinth (talk) 00:31, 14 March 2010 using Sibelius 5.

Phrygian Andalusian cadence.

Four measure ii-V-I progression in C with Coltrane substitution.

V-IV-I turnaround in C. Created by Hyacinth (talk) 08:54, 6 December 2010 using Sibelius 5.

Borrowed chord common in rock music: I ♭VI IV. In C: C A♭ F.

Chord progression with a borrowed chord second: v or Gm in C major.

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.