14 Royalty-Free Audio Tracks for "Chromaticism"

L'amour est un oiseau rebelle' aria from Bizet's opera 'Carmen'.

Chromatic fourth: lament bass bassline in Dm (D-C♯-C(♮)-B-B♭-A).

Lament bass from Vivaldi's motet "O qui coeli terraeque serenitas" RV 631, Aria No. 2. Created by Hyacinth (talk) 22:25, 18 April 2010 using Sibelius 5.

A chord progression illustrating "Tonalität", rather than the strictly diatonic "Tonart".

Tonally coherent harmonization from Beethoven's C-Minor Variations (1806).

Composition by Orlando Di Lassus. "Carmina Chromatico", Prophesiae Sybillarum.

Opening bars of Gesualdo's madrical "Moro Lasso".

Sleep music form act 3 of Wagner's opera Die Walküre.

The opening bars of Dido's lament from the opera "Dido and Aeneas" by Henry Purcell.

Prophetiae Sibylarum - Lassus

Bach's "Crucifixus", B Minor Mass ground bass.

Chromatic analysis of measures 5-9 of Cesar Franck's Variations Symphoniques (1885). Roman numeral analysis by Cooper, Paul (1975). Perspectives in Music Theory, p.216. New York: Dodd, Mead, and Company. ISBN 0-396-06752-2.

MIDI rendering of a passage from the madrigal "O voi che sospirate a miglior noti" by Renaissance composer Luca Marenzio (c.1553–1599), bars 35–41. Illustrating a striking use of chromaticism in a progression through the whole en:circle of fifths. MIDI produced with Lilypond.

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).