241 Royalty-Free Audio Tracks for "Chord Progression"

I made this chord progression using onlinesequencer. Net.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-♭vi-I.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-♭III-I.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-III-I.

Chord rewrite rules II: use of chromatic passing chords.

Free use.

Stomp progression in Ab. Created by Hyacinth (talk) 07:22, 14 July 2008 in Sibelius.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: i-♯iii-i.

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: i-♯VI-i.

Chord rewrite rules I: replacement or substitution of a chord by its dominant or subdominant.

V of V in C, on guitar.

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

Free use.

Common-tone diminished seventh chord.

Simple chord progressions, sorta laid back and relaxing. Think maybe a old school type of classic rock beginning.

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.

A rhythmically vocoded synth chord progression.

Two chords, c7 & b7, on electric guitar with filter and delay effects. Mic'd amp.

reale Quintfallsequenz

reale Quartfallsequenz

tonale Quartfallsequenz

♯IIo7 as dominant substitute.

This is an original composition i created in sibelius 6 using traditional music theory guidelines ( i. E circle progressions, chord progressions, aba structure. )the instruments used to create this are : chords - acoustic guitarmelody - electric guitar-xbkyboox xd.

1st chord progression made with multisamples saw wave sampled from arturia minibrute loaded into a kontakt2nd one made with single waveform from the same samples loaded into serumjust for analyse the difference between the two signal. Donate: paypal. Me/rvone.

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

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

Message me if you use this.

Eight bar blues progression boogie woogie bassline on middle C.

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

A slow chord progression played on electric guitar processed through a granulizer.

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

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

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

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

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

Predominant chord: ♭III+63.

Choir chords made in fl studio sytrus. Chord progression is a minor, f, c, g.

Twelve bar blues in C, block chords.

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

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

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

Phrygian Andalusian cadence.

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

Dominant thirteenth on F in sixth inversion: DE♭FGAB♭C. V13 resolves to I6.

Parrallelism in music (example).

Donald MacGillavry

Dominant eleventh on F in fifth inversion: B♭CE♭FGA. V11 resolves to I.

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.

This is an improvised boogie-woogie blues chord progression, with both hands playing the rhythm, and another hand playing the unusual chords.

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