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

Common chord modulation in Mozart, Sonata in D Major, K. 284, III, m. 1-8.

Chopin's Prelude in C minor modulates within the first three measures.

Common-chord modulation in Tchaikovsky, Mazurka Op. 39, No. 10.

Common-tone diminished seventh chord.

Common-tone diminished seventh chord in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

Common-tone modulation between chromatic mediants in Mozart's K. 475, mm. 24-26.

Common-tone modulation between C minor and its relative major Eb, using the common-tone G, in Schubert's Op. 163 (D. 956).

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

Modulation with subsidiary chord (in blue). Created by Hyacinth (talk) 02:10, 15 November 2011 (UTC) using Sibelius 5.

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

Debussy Pelleas et Melisande prelude opening.

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

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

viio7 as dominant substitute.

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

♯IIo7 as dominant substitute.

Modulation von Heinrich Schütz aus SWV 379

Simplest type of metric modulation in Bach. Slow introduction followed by Allegro, traditionally taken twice as fast. Eighth notes in the new tempo prepared by sixteenth notes in the old tempo ( = ).

Schubert - op. 29, D.804, I, mm.144-49. Enharmonic modulation using a common viio7, enharmonic in two keys.

Sequential modulation through the circle of fifths in Haydn, Quartet Op. 3, No. 3, IV, Hob.III:15 (now considered spurious, perhaps by Roman Hoffstetter).

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.

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

Diminished seventh chord to dominant cadence (bo-e7-A7-D).

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

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C♮ to C♯ between the second and third chords. Note that there is no common chord.

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

Sixth (A), in red, of a C added sixth chord. Created by Hyacinth (talk) 15:57, 4 July 2010 using Sibelius 5.

Root, in red, of a C major chord.

Truck driver's gear change, modulation up a whole step, in "Because the Night".

Sequential modulation in Beethoven, Sonata, op. 53, movement I

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.

Chord rewrite rules II: use of chromatic passing chords.

Created by Hyacinth (talk) 19:12, 18 January 2011 using Sibelius 5.

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

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.

viio7 in G major, on the guitar.

Augmented chord progression: I+ IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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.

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]

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]

reale Quartfallsequenz

tonale Quartfallsequenz

Altered major chord on B with diminished seventh (B, D♯, F♯, A♭), equivalent to a minor-minor seventh chord on G♯ (G♯, B, D♯, F♯) Alterierter Akkord mit verminderter Sept Esperanto: Ekzemplo por malsupren aliigita septo

ii-V substitution.