4,068 Royalty-Free Audio Tracks for "Bass Chord"

After You've Gone by Creamer and Layton (1918) verse, mm.7-23. Nashville number system realization on guitar.

Donald MacGillavry

Four-voice texture from the Genevan psalter: Old 124th. Created by Hyacinth (talk) 01:43, 30 January 2012 (UTC) using Sibelius 5.

Stomp progression in C with staggered thirds, chord roots in red. Created by Hyacinth (talk) 04:06, 17 March 2010 using Sibelius 5.

Bergamesca ('The Buffens'), Straloch MS., c. 1600.

Violoncello chord on D.

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.

Alberti bass in Thomas Attwood's Sonatina in G Major opening.

Equivalent Alberti bass patterns for 4/4 and 3/4 time signatures: 4/4 version.

Typical Walking Bass

Example of Albertini bass from Mozart's Sonate Opus KV 331 - Variation 6, measures 13-16 (instead of 13-15 so as to allow an end on the tonic).It seems like Alberti bass, but it isn't!

Equivalent Alberti bass patterns for 4/4 and 3/4 time signatures: 3/4 version.

Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 2010 using Sibelius 5.

Turnaround in F. Created by Hyacinth (talk) 04:07, 12 June 2010 using Sibelius 5.

Jazz standard bridge, ragtime progression: E7-A7-D7-G7, III7-VI7-II7-V7, or V7/V/V/V - V7/V/V - V7/V - V7 [or V7/vi - V7/ii - V7/V - V7]. MIDI file Progression d'accords : Pont Jazz standard. La progression de ragtime (E7-A7-D7-G7) apparaît souvent dans les ponts des standards de jazz. Fichier midi.

Created by Hyacinth (talk) 21:44, 22 December 2010 using Sibelius 5. vi-ii-V-I in C.

Parrallelism in music (example).

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.

Eight bar blues progression boogie woogie bassline on middle C.

Dominant seventh in Beethoven's Fifth Symphony, last movement.

German sixth with 6/4 resolution, generated on Sibelius.

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

Ninth (D), in red, of a C added ninth chord. Created by Hyacinth (talk) 16:46, 4 July 2010 using Sibelius 5.

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

Lament bass from Vivaldi's motet "O qui coeli terraeque serenitas" RV 631, Aria No. 2. Created by Hyacinth (talk) 22:25, 18 April 2010 using Sibelius 5.

Chromatic fourth: lament bass bassline in Dm (D-C♯-C(♮)-B-B♭-A).

The chord progression of the ostinato from "Creep" played with block chords with each chord in root position within one octave.

Tritone substitution (for V). Created by Hyacinth (talk) 04:49, 10 May 2010 using Sibelius 5.

After You've Gone by Creamer and Layton (1918) chorus, mm.24-43. Nashville number system realization on guitar.

The secondary dominant chords of the key of C major, each given before the chord of which it is the dominant. Digital recording, made with an acoustic piano and Wavesurfer software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by 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:

Tritone substitution (for V), without (with V). Created by Hyacinth (talk) 04:48, 10 May 2010 using Sibelius 5.

Typical boogie woogie bassline on 8 bar blues progression in C, chord roots in red.

Chord progression with diminished seventh chords added.

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

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

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

Prometheus scale on C.

Tonally coherent harmonization from Beethoven's C-Minor Variations (1806).

Giovanni Benedetti's 1563 example of a comma "pump" or drift by a syntonic comma (21.51 cents) during a progression. Common tones between chords are the same pitch, with the other notes tuned in pure intervals to the common tones.

Maple Leaf Rag seventh chord resolution. Created by Hyacinth (talk) using Sibelius 5.

Common chord modulation in Mozart, Sonata in D Major, K. 284, III, m. 1-8.

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

Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone

V of V in C, on guitar.

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

Chromatic mediant from Tchaikovsky's (1840–1893) Chant sans paroles.

Chord progression of La Folia theme, a common harmonic pattern in baroque music. After chord notation provided by User:Hyacinth at en:File:Later Folia.png. Self-made with Lilypond

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

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