172 Royalty-Free Audio Tracks for "Chord Factors"

Root, in red, of a C major chord.

Sixth (A), in red, of a C added sixth chord. Created by Hyacinth (talk) 15:57, 4 July 2010 using Sibelius 5.

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

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

Bergamesca variant, MS. Lute Book, c. 1600.

Debussy Pelleas et Melisande prelude opening.

ii7-subV7-IM7-I6 progression. Chord quality substitution.

Diminished chord in first inversion in Bach's WTC I, Prelude in G Major.

viio7 as dominant substitute.

♯IIo7 as dominant substitute.

Four measure ii-V-I progression in C with Coltrane substitution.

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

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

Scriabin, Sonata Op.5 Op.53. Meas.263-264

Truck driver's gear change, modulation up a whole step, in "Because the Night".

Chord rewrite rules II: use of chromatic passing chords.

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

Augmented chord progression: I+#6 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

iv IV I V chord progression.

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

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.

viio7 in G major, on the guitar.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

Augmented chord progression: I+64 IV6. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Montgomery-Ward bridge in C (I7-IV7-ii7-V7). Created by Hyacinth (talk) 06:58, 11 June 2010 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].

Augmented chord progression: I+ IV64. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

tonale Quartfallsequenz

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.

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

reale Quartfallsequenz

ii-V substitution.

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

viio6 as a substitute for V43 chord in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

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

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

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

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

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

Tritone substitution. ii7-Vb7/V-IM7 instead of ii7-V7-IM7.

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

ii7-V7-IM7, for comparison with a tritone substitution (ii7-Vb7/V-IM7).

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.

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

Phrygian Andalusian cadence.

V-IV-I turnaround in C. Created by Hyacinth (talk) 08:54, 6 December 2010 using Sibelius 5.

Stomp progression, block chords. IV7-#ivdim7 I7of5-I7 IV7 -#ivdim7 I7of5-I7 IV7-#ivdim7 I7of5-V7ofVofV V7ofV-V7 I7

Stomp progression two-measure three-chord harmonic cycle. F F#dim7 C7/G C7.