267 Royalty-Free Audio Tracks for "Common Chord Modulation"

Stomp progression in C with staggered thirds, chord roots in red. Created by Hyacinth (talk) 04:06, 17 March 2010 using Sibelius 5.

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

viio/V - V - I chord progression. Common in ragtime.

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

Minor chord on A.

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).

Modulations from C major to C sharp major in natural temperatures (just intonation) end at almost the same pitch although there should be a half-tone difference.

Sequential modulation in Schubert, Piano Sonata in E Major, D. 459, movement III.

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

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.

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

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

Dominant seventh raised ninth vs dominant seventh split third chord.

Parrallelism in music (example).

vi-IV-I-V chord progression in C. Created by Hyacinth (talk) 23:43, 25 March 2010 using Sibelius 5. vi-IV-I-V progression resolving to I.

Sixteen-bar progression - repeating variety: third section's first half repeated twice.

Eight bar blues progression boogie woogie bassline on middle C.

Example of modulation to the dominant from vocal music (1836).

Hendrix chord.

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

The chord progression of the ostinato from "Creep" played with block chords with each chord in root position within one octave.

Example of an altered chord progression in jazz.

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

Ab-over-A slash chord.

After You've Gone by Creamer and Layton (1918) chorus, mm.24-43. Nashville number system realization on guitar.

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:

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

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).

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

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

Minor seventh chord on d (ii7) in C. Created by Hyacinth (talk) 07:23, 14 August 2011 (UTC) using Sibelius 5.

Violoncello chord on D.

Half-diminished seventh chord on supertonic in C minor.

IV-V-I chord progression in C. MIDI file Progression d'accords. Fichier midi.

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.

Minor seventh chord on a vi7 in C. Created by Hyacinth (talk) 07:25, 14 August 2011 (UTC) using Sibelius 5.

Chord progression with diminished seventh chords added, without chords added yet.

Prometheus scale on C.

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

Schubert - op.9 D.365, mm.17-24. Modulation using German sixth in new key, enharmonic to dominant seventh in old key.

Dominant seventh in Beethoven's Fifth Symphony, last movement.

Giovanni Benedetti's 1563 example of a comma "pump" or drift by a syntonic comma (21.51 cents) during a progression. Common tones between chords are the same pitch, with the other notes tuned in pure intervals to the common tones.

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

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

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

A sample made by myself (Paul Nasca) using ZynAddSubFX and Praat that will be used to show the RingModulation effect. This is the a sample ring-modulated by a sound of 2500 Hz.

Diminished seventh chord's use in modulation.

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

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