1.326 tracce audio royalty-free per "Chords"

Showcasing the filter on some chords played on the unearthly oberheim ob-8 analogue synthesizer. Would love to hear your re-purposing of it!.

Smooth fm chords for calm atmosphere in movie. Use fat low pass filter depending on your taste. Highs should be mostly removed, i left them there - you need to decide how much highs you want to keep. It reminds me roland sound. Optionally add roland chorus tal-chorus-lx.

Dystopian city scape vibe played on oberheim ob8 analogue synthesizer. Use however you like and message me if you do!.

Nice little loop. Use it or not. . . It's up to you :)made on soundtrap 30 seconds ago.

This is something what i'm thinking of for a while. It's not very musical but i'm trying to find how are this type of chords useful?. When i listen this chord it gives me some strange sad-happy mood that changes rapidly in my head.

2 channel, drop-d chord played on a reverend rocco through a hughes&kettner; tubeman ii on distortion channel.

V-I progression, unaltered dominant resolving to the tonic. Created by Hyacinth (talk) 22:29, 9 July 2008 using Sibelius and Audacity.

A nice and wide sounding piano chord, using a digital piano sound i'm developing from public domain piano samples. Enjoy!.

Guitar riff with effects,frakum track.

Original live home recording.

An acoustic guitar chord recorded through a set of guitar plugins for extra fun!this one is am9.

Pandiatonic chord with nonharmonic bass in Igor Stravinsky's Symphony of Psalms, 3rd movement.

Recorded with my yamaha pocketrak. Edited in sony sound forge for some hiss removal. Please comment on what you may use it for. Thanks. :^).

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.

Fretted 12th fret on both the a (5th) string and the d (4th) string. Down strum.

Some chords played on an arp solina string ensemble going through an electro harmonix small stone phaser pedal. Let me know how you re-use it!.

Random chords, created with midi akai keys on garageband.

This is made using a program named virtual ans, using of fft.

Just a simple chord of a digital pad being played. It sounds relaxing, happy, calm, etc. Etc. Made with bandlab.

C minor played with hybrid vst for ableton. Settings set to square wave, and filter with resonance.

Have fun using it!.

C major chord repeated at fff, ff, f, mf, mp, p, pp, and ppp dynamic markings.

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

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

High melody and chordscinematic, magical.

Diminished triad on B, as MIDI

Shave and a Haircut in G with chords. Triplet swing.

Alpha scale harmonic seventh chord on C. MIDI pitch bend matches intervals.

A (5th) string 5th fret, and the d (4th) string 5th fret. Down strum. Palm muted.

Some future bass chords for a track im working on. Feel free to use them for whatever you like :3.

Complexe sonore: the octatonic scale may be arranged as four major chords or seventh chords. Created by Hyacinth (talk) 13:49, 13 June 2010 using Sibelius 5.

This is an original composition i created in sibelius 6 using traditional music theory guidelines ( i. E circle progressions, chord progressions, aba structure. )the instruments used to create this are : chords - acoustic guitarmelody - electric guitar-xbkyboox xd.

Pretty synth sound made with a minimoog, detuned, ideal for chords.

Simple riff created using eletric guitar100%free. Donations are welcomehttps://mpago. La/2sycyek.

A few different strums of the em chord on an acoustic guitar. Varying volumes and attacks present. Recorded using a tascam dr-40x over the air (no pickup).

Dream Chord on G, tuned 12:16:17:18. MIDI pitch bend appears to match intervals.

Some chords played on an arp solina string ensemble going through an electro harmonix small stone phaser pedal. Let me know how you re-use it!.

Consonant harmonies based on the odd harmonic overtones 3/5/7/9.

An open composition of 12 open chords uploaded by speedy, in 65 seconds, creating a sad atmosphere.

Augmented triad on C, As MIDI

Tonic and dominant in C. C major and G major chords.

Major triad on C. Created using Sibelius.

Chromatic sequence of inverted minor chords played on a digital piano. Panto villain signifier.

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.