316 Royalty-Free Audio Tracks for "C Chords"

V of V in C, four-part harmony. Reduced from Chopin.

A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.

V/V-V-I in C, in four-part harmony.

G major scale note g a b c d e f g.

Super useful electronic chords. The omnichord is a true classic. The only catch is you have to chop them yourself. I just load them into a beat slicer and go to town :). Also sounds amazing with distortion!.

Here's a little chord loop i made. Please, if you use it, could you give me the links to your projects in the comments down below :)? thank you in advance and i'm looking forward to see your creativity!. Enjoy!. Information:key: c minor. Tempo: 125 bpm.

Chord from just Bohlen–Pierce scale: C-G-A Title refers to harmonics (fundamental=1:3:9:etc.)., tuned to harmonics 3, 5, and 7. "BP" above the clefs indicates Bohlen–Pierce notation.

Chopin's Prelude in C minor modulates within the first three measures.

V65 of V in C, four-part harmony. Reduced from Chopin.

VII-I cadence in C major. Created by Hyacinth (talk) 14:28, 10 March 2011 (UTC) using Sibelius 5. GFDL-self

V of V chord progression in "Sweet Georgia Brown". V/V/V-V/V-V-I: A-D-G-C. Note that the tempo is kept but the number of measures is cut in half.

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C♮ to C♯ between the second and third chords. Note that there is no common chord.

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

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

Cute cc0 loop of some upbeat, melodic stuff // c major 93 bpm.

This is a reel for the make noise morphagene. It was created using the chord preset from mutable instruments plaits. The chords gravitate around c. I twiddled the knobs while recording and the results were fed through valhalla shimmer before i cut a few sections up and rearranged the audio to make a reel. Have fun!.

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C to C between the second and third chords. Note that there is no common chord.

Bad guy/"Villian" motif/riff.

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:

13-limit just decatonic scale on C; 1/1, 12/11, 32/27, 9/7, 4/3, 132/91, 3/2, 18/11, 16/9, 176/91, and 2/1; followed by the tonic chord: C, E, G.

A synth chord i placed in fl studio. C a f c. Using a saw square and pulse pwm wave for combo. Then put a sweeping band pass filter from top frequency to bottom frequency. Then i put a panner with the speed lfo sweeping from fast to slow. Next the right amount of reverb. Finally some copmression and normalizing. Using sound to reach out to angels.

Single note sampled from an analog synthesizer by modular samples. Modular samples provides samples of vintage and modern synthesizers for apple exs24, native instruments kontakt, reason and live samplers, with over 50 gigabytes of public domain content. Sampler files and sound packs are also available at http://modularsamples. Com. Synthesizer: oberheim xpanderpatch name (pack): monster chordnote: c2midi note: 36.

A metallic percussion loop over a chord progression in c major on piano. Perfect for your blue man group cosplay!.

Two chords and a 3 note melody processed in music maker's cinematic synth for high drama.

A chord progression in c minor made on lmms, played on bells put through phasing and delay. If you make music using this, please leave a link under this post.

Sixteen-bar progression - repeating variety: third section's first half repeated twice.

Part of the beta loopset, a set of complementary synth loops. It is in the key of c minor, following the chord progression cm bb fm g7. It is four bars long at 110bpm. It is normalized.

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

Part of the epsilon loopset, a set of complementary synth loops. It is in the key of c major, following the chord progression cmaj7 fmaj7. It is four bars long at 110bpm. It is normalized.

Recording of piano (physical, not electronic keyboard) tones and a chord (mostly c in different octaves), made quickly with cellphone with a little bit of noise, hopefully can still be useful.

Two chords and a 3 note melody processed in music maker's cinematic synth with a deep bass swell for high drama.

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.

Two chords and a 3 note melody processed in music maker's cinematic synt. This version is a string ensemble voice, a bit lighter than the others but moody.

A member of the delta loopset, consisting of a set of complementary synth loops. It is in the key of c major, following the chord progression c7-f7-c7-f7. It is four bars long at 110bpm. It is normalized.

Single note sampled from an analog synthesizer by modular samples. Modular samples provides samples of vintage and modern synthesizers for apple exs24, native instruments kontakt, reason and live samplers, with over 50 gigabytes of public domain content. Sampler files and sound packs are also available at http://modularsamples. Com. Synthesizer: elektron analog fourpatch name (pack): grit chordnote: c2midi note: 36.

This sound was created using the "surge" synthesizer. Bpm: 170key: c# majorcheck it out: https://presetshare. Com/preset/view?id=1553.

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

Grandmother chord (Grossmutterakkord), first used by Nicolas Slonimsky. A G# Bb G B♮ F# C F♮ C# E D Eb = 0 e 1 t 2 9 3 8 4 7 5 6.

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in second inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is second-first-second-root/second-first-second-root-second)

V of V in C, four-part harmony. Bruce Benward and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition: p.269. ISBN 978-0-07-294262-0.

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in root position and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is root-second-root-first/root-second-root-first-root)

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in first inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is first-root-first-second/first-root-first-second-first)

Musical scale called "Ishartum" by Lou Harrison, often called the "Flamenco mode", in Pythagorean tuning on E, as follows: (by fifths) F-, C-, G-, D-, A, E, B (F♯+, C♯+, G♯+, and D♯+), or (in order) E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- (128/81), D (16/9), E (2/1), with G♯+ being 81/64 and D#+ being 729/512. The final F- has an augmented sixth chord, B7b5/F (B D# F A), which resolves to a major chord that touches on the minor third.

A loopable recording. Played in dminor. The chords are: dm c b a90 bpm. Played on a washburn festival series guitar. Recorded with ableton.

0 7 10 was judged most consonant by the untrained subjects. Title refers to number of semitones (unison=0).

For this jazzyloop i used. Drumbot. Compiano chordsrandom progressionminor, 4 chords, 80 bpm, oo_odm, cm, c#6, f#9had to record straight to audacity. No export function. Drumbotcountry & folksmothness made a 4 bar drum sequence and exported as wav. This site (drumbot. Com) had no "bass function". . . Quick search led me to onlinesequencer. Nethere i made a bass line to the chords in 80bpm. Here you can only export to mid. . . Once again i had to record straight to audacity. Result this loop. No processing in audacity.

Electro-acoustic guitare loop in c dorian. 115bpmit doesn't encompasses the effect of the soundboard. You should apply (convolve) a guitar soundboard impulse response to this sound to make it sound more natural.

C add 9 b5 chord played through a journeys synth using bell saw massacre voice at c3 for six seconds. Converted to audio file, copied, copy reversed and two files merged with automatic crossfade. Now 16 and a half seconds long.

Made with fl studio. Using c minor chords, i made this sad melody. 130 bpm. Let me know in the comment section if you want me to give you the same melodybut with reverb. Injoy.

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.