195 Royalty-Free Audio Tracks for "Chord Inversion"

viio7 in G major, on the guitar.

Predominant chord: ♭III+63.

C major triads played on piano: 1) root position, 2) first inversion, 3) second inversion

Major triad on C in first inversion.

D-over-F-sharp slash chord.

Minor triad on A in first inversion. Created by Hyacinth (talk) 18:56, 23 November 2010 using Sibelius 5.

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

Dominant seventh chord on G: G B D F. In root position, 1st inversion, 2nd inversion, and third inversion, then at the octave in root position.

Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 2010 using Sibelius 5.

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

Fifteenth chord from Marpurg on A: A,(C,E,)G,B',D',F',(A"). Resolves to C,E,G,C',E'.

Fifteenth chord from Perry on C

Dominant seventh in C in first inversion

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

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

Predominant chord: i64.

Iidim6 chord in C.

Full diatonic fifteenth chord from Listz on B

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

Debussy Pelleas et Melisande prelude opening.

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

viio7 as dominant substitute.

♯IIo7 as dominant substitute.

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

Major triad on F in second inversion

Major triad on F in first inversion

Major triad on C in second inversion.

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

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

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.

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

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

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.

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