14.249 file audio bebas royalti untuk "V Of V V I Progressions"

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Montgomery-Ward bridge in C (I7-IV7-ii7-V7). Created by Hyacinth (talk) 06:58, 11 June 2010 using Sibelius 5.
Penulis: The original uploader was Hyacinth at English Wikipedia.
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Chord progression by descending thirds from mediant to supertonic resolving to dominant.
Penulis: Created by Hyacinth (talk) 20:27, 22 December 2010 using Sibelius 5.
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reale Quartfallsequenz
Penulis: Balliballi
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tonale Quartfallsequenz
Penulis: Balliballi
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V-IV-I turnaround in C. Created by Hyacinth (talk) 08:54, 6 December 2010 using Sibelius 5.
Penulis: Hyacinth at English Wikipedia
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Four measure ii-V-I progression in C with Coltrane substitution.
Penulis: Created by Hyacinth (talk) 03:12, 23 April 2010 using Sibelius 5.
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V-I progression, unaltered dominant resolving to the tonic. Created by Hyacinth (talk) 22:29, 9 July 2008 using Sibelius and Audacity.
Penulis: The original uploader was Hyacinth at English Wikipedia.
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Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]
Penulis: Hyacinth
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Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]
Penulis: Hyacinth
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Diatonic mediant/submediant chord progression: I vi I (submediant, in major).
Penulis: Hyacinth
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Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).
Penulis: Hyacinth
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Diatonic mediant/submediant chord progression: I iii I (mediant, in major).
Penulis: Hyacinth
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Bergamesca ('The Buffens'), Straloch MS., c. 1600.
Penulis: This file is lacking author information.
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Altered major chord on B with diminished seventh (B, D♯, F♯, A♭), equivalent to a minor-minor seventh chord on G♯ (G♯, B, D♯, F♯) Alterierter Akkord mit verminderter Sept Esperanto: Ekzemplo por malsupren aliigita septo
Penulis: Hyacinth
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viio7 as dominant substitute.
Penulis: Created by Hyacinth (talk) using Sibelius 5.
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Chord progression with a borrowed chord second to last: iv or Fm in C major.
Penulis: Hyacinth
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I - ♭VII - ♭VI - ♭VII in C. Created by Hyacinth (talk) 00:31, 14 March 2010 using Sibelius 5.
Penulis: User:Hyacinth
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Phrygian Andalusian cadence.
Penulis: Created by Hyacinth (talk) 23:24, 18 April 2010 using Sibelius 5.
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ii7-V7-IM7, for comparison with a tritone substitution (ii7-Vb7/V-IM7).
Penulis: Hyacinth
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Tritone substitution. ii7-Vb7/V-IM7 instead of ii7-V7-IM7.
Penulis: Hyacinth
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Quartal chords descending by semitone. Created by Hyacinth (talk) 21:48, 2 February 2012 (UTC) using Sibelius 5.
Penulis: Hyacinth at English Wikipedia
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Chord progression with a borrowed chord second: v or Gm in C major.
Penulis: Hyacinth
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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.
Penulis: Hyacinth at English Wikipedia
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♯IIo7 as dominant substitute.
Penulis: Created by Hyacinth (talk) 21:46, 14 July 2010 using Sibelius 5.
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Borrowed chord common in rock music: I ♭VI IV. In C: C A♭ F.
Penulis: Hyacinth
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Altered dominant played twice then resolved to the tonic. Created using Sibelius and Audacity.
Penulis: Hyacinth at English Wikipedia
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Music based on notes at da:Drømte mig en drøm i nat Musik baseret på noder fra da:Drømte mig en drøm i nat
Penulis: Penguin
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Parrallelism in music (example).
Penulis: Hyacinth
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Veni, Vidi, Vici (1896), a march by Robert Browne Hall. It is here performed by the U.S. Air Force Band for their 1998 album Front & Center, a Collection of American Marches, conducted by Colonel Lowell E. Graham.
Penulis: Robert Browne Hall (Composer, 1858–1907) Scan of credits THE UNITED STATES AIR FORCE CONCERT BAND Commander/Conductor: Colonel Lowell E. Graham – Greeley, CO Manager: Chief Master Sergeant James H. Moseley II – Beaumont, TX PICCOLO MSgt Ardyth Scott – Shreveport, LA FLUTE MSgt Lawrence Ink* – Rockville, MD MSgt Lucille Johnston Snell – Albuquerque, NM TSgt Sharon Weinberg – Philadelphia, PA OBOE MSgt Ronald Erler* – Falls Church, VA CMSgt Robin Forrester-Meadows – Evansville, IN ENGLISH HORN CMSgt James Moseley II – Beaumont, TX E-FLAT CLARINET MSgt Jan Siegfried – Valparaiso, IN B-FLAT CLARINET CMSgt Steven Lawson* – Simi Valley, CA TSgt George Stoffan – Norwalk, CT MSgt Carl Long – Hanover, NH MSgt Elizabeth Campeau – Pinckney, MI MSgt Sandra Haton* – Columbia, SC TSgt Richard Drew – Joliet, IL TSgt Brian Jones – Panama City, FL MSgt Kay Schultz – Skaneateles, NY MSgt Lorraine Haddad* – Poughkeepsie, NY TSgt Shawn Buck – Brookside, PA SMSgt Robert Little – Houston, TX BASS CLARINET TSgt David Aspinwall – Atlanta, GA CONTRA ALTO CLARINET TSgt Brian McCurdy – Virginia Beach, VA BASSOON CMSgt Danny Phipps* – Annapolis, MD TSgt Lawrence Burke – Redondo Beach, CA ALTO SAXOPHONE SMSgt John Thomas* – Ellisville, MS MSgt William Marr – Alexandria, VA TENOR SAXOPHONE TSgt Jeffrey Snavely – Milwaukee, WI BARITONE SAXOPHONE MSgt Mary Beth George – Buffalo, NY FRENCH HORN TSgt Deborah Stephenson* – Dallas, TX TSgt Leslie Mincer – Charlottesville, VA TSgt Kent Wyatt – Arlington, TX TSgt Philip Krzywicki – Philadelphia, PA CORNET TSgt Andrew Wilson* – Gambier, OH SMSgt David Golden – Bethlehem, PA TSgt Michael Bosch – Bethlehem, PA MSgt William Adcock – San Jose, CA TSgt Curt Christensen – Mt. Clemens, MI MSgt Clarence Mitchell – Portsmouth, VA TRUMPET TSgt Robert McConnell – Wadsworth, OH MSgt James Bittner – Harrisburg, PA TROMBONE SMSgt Mark Williams* – Okemos, MI MSgt Jeffrey Gaylord – Western Springs, IL MSgt Lindsey Smith – Williamston, MI TSgt James VanZandt – Austin, TX EUPHONIUM MSgt Ann Baldwin* – Canton, OH TSgt Lance LaDuke – Niles, MI TUBA MSgt Jan Duga* – Columbus, OH SMSgt Edward McKee – Roselle, NJ MSgt David Porter – Alcoa, TN TIMPANI MSgt Patrick Shrieves – Freehold, NJ PERCUSSION MSgt Aubrey Adams* – Medford, OK SMSgt Mark Carson – East Fultonham, OH TSgt Thomas Maloy Jr.- Clinton, NY TSgt Erica Kadison – Louisville, KY * Principal CREDITS Colonel Lowell E. Graham – Commander/Conductor/Producer Major Frank J. Grzych II – Deputy Commander/Producer Captain Scott A. Guidry – Staff Officer/Co-Producer Mr. Bruce Leek – Engineer/Digital Editing Master Sergeant Kendall S. Thomsen – Assistant Engineer Chief Master Sergeant Dana L. Steinhauser – Director of Public Affairs Master Sergeant William D. Porter II – Recording Production Technical Sergeant Robert K. McConnell – Graphic Layout Master Sergeant Elizabeth K. Campeau – Liner Notes Technical Sergeant Sharon B. Weinberg – Booklet Editor Crabtree + Company (Arlington, VA) – Cover Design Mark Custom Recording Service (Clarence, NY) – Disc Replication Lion Recording Services, Inc. (Springield, VA) – Disc Packaging Master tapes were recorded at The Center for the Performing Arts, George Mason University, Fairfax, Virginia, June 6–8, 1998 Catalog number: BOL-9807.
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Male v/o two samples as requested by member jhon62.
Penulis: Splatbot
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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.
Penulis: Hyacinth at English Wikipedia
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Rule of the octave, major scale.
Penulis: Created by Hyacinth (talk) 20:22, 17 November 2010 using Sibelius 5.
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The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 05:08, 14 July 2011 (UTC) using Sibelius 5.
Penulis: Hyacinth at English Wikipedia
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Augmented chord progression: I+ vi63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]
Penulis: Hyacinth
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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.
Penulis: Hyacinth at English Wikipedia
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Twelve bar blues in C, block chords.
Penulis: Created by Hyacinth (talk) 22:10, 8 July 2010 using Sibelius 5
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I-IV-♭VII-IV chord progression. Barre chords on a MIDI acoustic guitar: C-F/C-B♭-F/C.
Penulis: Hyacinth
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Predominant chord: ♭III+63.
Penulis: Hyacinth
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Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]
Penulis: Hyacinth
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Eight bar blues, guitar chords: I V7 IV7 IV7 V7-IV7 I V7.
Penulis: User:Hyacinth
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Chromatic descending 5-6 sequence from which "Lay, Lady, Lay" sequence is derived.
Penulis: User:Hyacinth
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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.
Penulis: Hyacinth at English Wikipedia
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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.
Penulis: Hyacinth at English Wikipedia
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Twelve bar blues in B, block chords. Created by Hyacinth (talk) 09:25, 17 December 2010 using Sibelius 5.
Penulis: The original uploader was Hyacinth at English Wikipedia.
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Rhodes Mark I verzerrt über Röhrenamp -- Selbst gemachte Aufnahme --Fetz 19:58, 8. Apr 2006 (CEST) Rhodes Mark I with an overdriven tube amp -- own Recording.
Penulis: The original uploader was Fetz at German Wikipedia.
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The melody of the folk song The Girl I Left Behind Me. Die Melodie des Volksliedes The Girl I Left Behind Me. La mélodie de la chanson populaire The Girl I Left Behind Me.
Penulis: Nachtbold
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Tritone substitution (for V), without (with V). Created by Hyacinth (talk) 04:48, 10 May 2010 using Sibelius 5.
Penulis: Hyacinth at English Wikipedia
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Tritone substitution (for V). Created by Hyacinth (talk) 04:49, 10 May 2010 using Sibelius 5.
Penulis: Hyacinth at English Wikipedia
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The old English carol I Saw Three Ships (Come Sailing In).
Penulis: Matt Norris & the Moon
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After You've Gone by Creamer and Layton (1918) verse, mm.7-23. Nashville number system realization on guitar.
Penulis: Hyacinth
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