19,106 Royalty-Free Audio Tracks for "Audio Files Of Spanish Guitar Chords"

Triad in Equal Tempered Bohlen-Pierce tuning (0 4 7 semitones). Title refers to harmonics (fundamental=1:3:9:etc.).

Danza espanola, op. 37, h. 142 - xii. arabesca

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

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

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.

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

Parrallelism in music (example).

Add6 chord on C

Bridge chord, named after en:Frank Bridge. Major chord with a minor chord a semitone above. Chord pictured followed by arpeggio with Db minor at the octave.

Dominant seventh chord on G: G B D F. In root position, 1st inversion, 2nd inversion, and third inversion, then at the octave in root position.

Power chord on E. Created by Hyacinth (talk) 14:21, 27 July 2008 using Sibelius 5.

Elektra chord implies an E Major and C# Major chord together (C# E# G# = Db F Ab)

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

America the Beautiful performed on the DuoLectar by Dave Bunker. The author of this music (Samuel A. Ward) died in 1903, and there are no lyrics in this audio version played, recorded and uploaded by guitarist David Douglas Bunker. This version was converted from an uncompressed WAV file to a lossless FLAC file half the size.

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.

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

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.

Chord rewrite rules II: use of chromatic passing chords.

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

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

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.

reale Quartfallsequenz

tonale Quartfallsequenz

Chord progression with diminished seventh chords added.

Augmented dominant seventh chord on C

Neapolitan sixth in C minor.

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

Minor eleventh chord in Herbie Hancock's "Maiden Voyage".

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

Secondary dominants in Beethoven's Symphony No. 1, introduction.

Augmented chord progression: V+75 I. 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]

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

Minor 6/9 chord on C. Created by Hyacinth (talk) 09:57, 11 December 2011 (UTC) using Sibelius 5.

Minor ninth chord on C. Created by Hyacinth (talk) 08:44, 29 May 2011 (UTC) using Sibelius 5.

Ninth augmented fifth chord on C.

Cesar Franck Violin Sonata in A major, opeing bars

Dominant and dominant parallel in C minor: Gm and BM chords.

Dominant and dominant parallel in C major: GM and Em chords.

DSp in C major.

Most dissonant triad in Bohlen-Pierce tuning: 0,1,2 (semitones).

Dominant thirteenth: four-voice version. "This disposition is typical." Created by Hyacinth (talk) 18:33, 30 May 2011 (UTC) using Sibelius 5.

Thirteenth chord CMI7(add13). Created by Hyacinth (talk) 18:56, 4 July 2009 using Sibelius 5.

Tonic thirteenth chord on F. Created by Hyacinth (talk) 22:14, 1 July 2009 using Sibelius 5.