416 Royalty-Free Audio Tracks for "Common Tone Modulation"

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).

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

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

Common-tone diminished seventh chord.

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 in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

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 ( = ).

Modulation von Heinrich Schütz aus SWV 379

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).

Last chord of Anger's Tintamarre (The Clangor of Bells) (1911).

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.

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

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

Phrase modulation in Mozart's Sonata in A Major, K.331, III (Alla turca), mm.6-10.

Two examples of tone-cluster notation as first used by Henry Cowell.

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.

Tone row from "Tot" ["Lifeless"], Drei Lieder, Op. 48.

The intro to L'Isle Joyeuse, by Claude Debussy. Created by Hyacinth (talk) 06:38, 19 January 2012 (UTC) using Sibelius 5.

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

Dominant form chord: Diminished leading-tone chord preceding tonic chord and possessing a secondary dominant function.

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving. (fo7 to G-flat)

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

A recording that shows the effect of a Shepard tone

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.

Berg's basic tone row from Lulu on C.

Berg's Dr. Schön tone row from Lulu on C.

Tone row from the first movement of Alban Berg's Lyric Suite, according to George Perle.

Berg's Lyric Suite Mov. VI tone row 2-P.

Berg's Lyric Suite Mov. VI tone row 1-P

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

Nono- Il Canto sospeso all-interval series, as Midi

Berg's Alwa tone row from Lulu on C.

Principal forms of Webern's tone row from Variations for piano, op. 27, movement 2.

The tone row from the first movement of Alban Berg's Lyric Suite, according to Wolfgang Stroh.

Pierre Boulez's Second Piano Sonata series. Created by Hyacinth (talk) 01:57, 19 October 2010 using Sibelius 5.

Berg's Lulu Schoolboy tone row on C.

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.

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

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Janacek Sinfonietta 2nd movement, opening bars

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Tone row of Webern's Variations for piano, op. 27.

Berg violin concerto tone row