1,327 ロイヤリティフリー オーディオトラック の "Chords"

iii7 as tonic substitute. Created by Hyacinth (talk) 16:16, 14 July 2010 using Sibelius 5.

Standard open a major bar chord (e major formation). Down strum. If any of these samples have any errors or faults, please tell me.

Long and atmospheric chord sweep effect creating using a soft synth. It is played as a d# major triad at 125 bpm.

Barbershop bell chord. Pitch bend matches just intervals.

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

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

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Analoge string. Tools: jd800.

Choris effect, simple chord moderate strumming.

iv IV I V chord progression.

A Hard Day's Night opening chord: F9. Created by Hyacinth (talk) 03:11, 14 September 2012 (UTC) using Sibelius 5.

Augmented chord progression: I+65 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified].

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

Deep techno chord 120bpm, made in logic x.

Clicky organ chords.

C chord progression in 7/4 time at 150 bpm.

Chord stab made in fl studio.

Chord synth sound created on the voltage modular plug-in.

Last chord of Anger's Tintamarre (The Clangor of Bells) (1911).

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

A C chord on a drawbar organ.

A vocal chord with crescendo and diminuendo ending with some pan flute recorded in big concert hall with olympus ls 11.

Gutar chord recorded in the audio line with tremolo handle. Reverb effect was added. Electric guitar washburn ps 7200.

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

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

Werckmeister temperament major chord on C.

Chord stab useful for any trippy tunes.

Two dark-sounding, organ-like synth chords.

Here is a simple chord progression (d dorian) from a synth designed in reason´s europa.

120 bpm midi synth chords in e-minor, 8 measures and loop-able.

Neapolitan sixth in C minor.

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

Dominant thirteenth: four-voice version.

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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.

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Different minor 9th (neo-soul) chords, inverted. E-piano.

A dominant thirteenth in F minor. Created by Hyacinth (talk) using Sibelius 5.

Borrowed chord (viio) in Mozart K. 576, II: Adagio, mm.13-16.

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.

Some punches and touches on piano.

A chord processed, sounds like a guitar, high pitched.

viio7 in G major, on the guitar.

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

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

Ives quarter tone fundamental chord.

Voice leading for dominant eleventh chords in the common practice period. Created by Hyacinth (talk) 23:16, 6 July 2009 using Sibelius 5.

Crispy chords from the e major scale.

Dirty rhodes piano chord - f major with a in the bass.