37 Royalty-Free Audio Tracks for "Chord Inversion"

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

Predominant chord: ♭III+63.

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.

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.

Predominant chord: i64.

Suspended fourth chord on C in first inversion.

Major triad on C in first inversion.

Predominant chord: I64.

D-over-F-sharp slash chord.

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

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

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).

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).

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

Fifteenth chord from Perry on C

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

Iidim6 chord in C.

5:7:9 is the first inversion of the major triad. Title refers to harmonics (fundamental=1:3:9:etc.).

Full diatonic fifteenth chord from Listz on B

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

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

viio7 in G major, on the guitar.

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

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.

Dirty fmaj7 cycling envelope variations. 2nd inversion. Lazy chord patch.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar.

Self created patch on my korg poly 800 mki (inversed keys, as if that would matter ;)).

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Created by Hyacinth (talk) using Sibelius 5.

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in first inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is first-root-first-second/first-root-first-second-first)

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in second inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is second-first-second-root/second-first-second-root-second)

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar. Created by Hyacinth (talk) 14:10, 7 July 2009 using Sibelius 5.

The standard way of filling in this descending thirds pattern is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.

This is a future bass chord progression made with 3x osc, the chords are inversions of cm, ab, fm and gm in that order, you can do whatever you want with this :).

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in root position and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is root-second-root-first/root-second-root-first-root)