241 Royalty-Free Audio Tracks for "Chord Progression"

Emotional piano 001 key: d# - bpm 90.

Repetitive melody of piano chord progression laid over organ chorus through audacity.

Repetitive melody of piano chord progression laid over organ chorus through audacity.

Chord progression played on a kurzweil 2500rs synthesizer in a-minor key. The mood is dreamlike, melancholic and nostalgic. The instrument is a mix of piano and strings and ends with a long reverb tail. Could fit a soundtrack or an ambient track.

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

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.

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

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

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

Piano chord progression laid over organ chorus through audacity.

Emotional piano 004 key: d#m - bpm 80.

Emotional piano 002 key: d#m - bpm 80.

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

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.

Emotional piano 003 key: d#m - bpm 80.

Future bass supersaws, created with xfer serum in reaper. Decided not to use this chord progression for my track, but perhaps it can be of use to someone!. License: cc0.

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Wistful and romantic repetitive melody of piano chord progression laid over organ chorus through audacity.

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

This is a so called "epic" chord progression (amcfg) played rhythmically by the string section of an orchestra: basses, cellos and violins.

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

Typical cmaj - fmaj - gmaj - cmaj chord progression played with the "space rez" patch i self-programmed in ichiro toda's synth1, with some heavy tal-reverb 4 applied over it.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

Remix of https://freesound. Org/people/hunterscrossbow/sounds/149778/ to make a creepy ambience.

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

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

Created with spitfire labs. I made this progression for underscoring for a scene in a play that took place after a character died.

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

Short improv on 3/4 upright acoustic bass. Iphone mic recording. Mastered with apple plug-ins and vinyl filter.

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.

Sound i use in disquiet junto project 0544: feedback loopthe assignment: share music-in-progress for input from others.

A little thing i came up with while doing some research on how j macis writes music. Found out he puts a capo on the second fret and by doing that this japanese pop chord progression i learned by watching a video marty friedman did on japanese style guitar improv was sounding a lot better than without one. This is free to use but if you do use it maybe throw my name on there, or at least show me what you did!. Recorded with a shitty usb mic i got for 20$ against an orange crush 20rt, effects used were a blues driver and a tube screamer.

Slow and soft repeating chord progression. Piano lead laid over organ chorus. Ideal for reflective interlude.

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.

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

Part of the beta loopset, a set of complementary synth loops. It is:. * in the key of g mixolydian, following the chord progression g7sus4 fsus2. * four bars long at 110bpm. * normalized.

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

Pianochord sample through echophon distorted, mimeophon erbe-verb and a little qpas. Rendered in reaper @ 48khz 32 bit with markers for you morphagene fans out there. Enjoy the wobbly bits!.

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

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

Simple type of chord progression, low gain type of distortion with a mild flange effect. Probably good for a break or intro but could be used for more if broken up. Changes tempo and tone near the end into something completely different.

Think of a spaceship launching from a desolate planet with hardly any fuel reserves. Sorta heavy distortion with the right amount of phaser and chord progression. Almost moody and atmospheric.

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:

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:

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.

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.