214 Royalty-Free Audio Tracks for "Chord Progression"

♯IIo7 as dominant substitute.

Predominant chord: ♭III+63.

Donald MacGillavry

Phrygian Andalusian cadence.

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

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

Parrallelism in music (example).

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

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

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

V of V in C, on guitar.

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

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

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

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

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.

Twelve bar blues in C, block chords.

Rule of the octave, major scale.

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

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

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

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

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

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

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.

Eight bar blues, guitar chords: I V7 IV7 IV7 V7-IV7 I V7.

Example for a simple straightforward walking bass line over a 12-bar blues scheme

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

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

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

Chromatic descending 5-6 sequence from which "Lay, Lady, Lay" sequence is derived.

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

Repeating chord progressions with piano lead and organ chorus backing through audacity. Ideal for interlude or movie backing track.

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.

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

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

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

Tritone substitution (for V) notated as Italian sixth.

Montgomery-Ward bridge in C (I7-IV7-ii7-V7). Created by Hyacinth (talk) 06:58, 11 June 2010 using Sibelius 5.

Twelve bar blues in B, block chords. Created by Hyacinth (talk) 09:25, 17 December 2010 using Sibelius 5.

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.

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

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

Common-tone diminished seventh chord (♯vio42, in D major: b♯o7) in Tchaikovsky's Nutcracker Suite, op. 71a, III, Valse des Fleurs, mm.1-4.

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

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

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

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

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

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