I had this idea yesterday i think, to record a set of chords in vocal with the lords name. This is the chord progression::. 1st. F g# c = f minor. 2nd. D f a# = i'm calling this a d minor augmented. This is really a bflat major chord, but since i started it with a 'd', i'm calling in a d minor augmented ; ) someone's gottago for it. 3rd. G# c d# = g# major. 4th. F a c = f major. Please enjoy and comment, if you use it in anything i would just like to know, but please feel free to use this anywhere. Thanks, god bless.
Some piano recordings with door noises in the background. First chord is an f major 7th and then it goes down to a d minor seventh or something. Not sure.
La Monte Young - Magic opening chord: E♭, E, F, A, B♭, C, D, E♭, E, F, G, A, B♭ = 2:3:7:9:21:63:567:189:567. The opening chord (left), E, F, A, B♭, D, E, G, and A, and the magic chord (right), E♭, B♭, C, E♭, F, B♭.
120 bpm rising square arpegiated chords, feel free to use with anything. Synth patch is "square lead" from cubase's "prologue". Chord progression: amin d fmin bflat.
A guitar chord, probably a d. Recorded for the purpose of testing out guitar dsp effects. Recording details:. Gibson les paul junior, p90 pickup, mahogany neck, ernie ball beefy slinky 11-54, dunlop 88mm. Recorded through the instrument input of a focusrite saffire pro 24. Edited in ableton live, no processing other than gain and fade.
132 bpm in c minorjust simple chords in a quick patch i made in sylenth1. Cant imagine what anybody will do with this but might as well just leave it here for the good people of freesound. :d.
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).
Some chords played on my pilarte classical guitar using my thumb nail. E minor, a minor, d minor, g, c (add9). Recorded on my yamaha pocketrak and edited in sony vegas. There is a hiss. Sorry. Please comment on what you will use it for. Thanks. :^)-.
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).
Super useful electronic chords. The omnichord is a true classic. The only catch is you have to chop them yourself. I just load them into a beat slicer and go to town :). Also sounds amazing with distortion!.
Simple type of riff with some flange and vibrato/noise. Low gain type of distortion. Sorta random chords type of playing which would probably work broken up into smaller sections. Gets nasty at the end.
Musical scale called "Ishartum" by Lou Harrison, often called the "Flamenco mode", in Pythagorean tuning on E, as follows: (by fifths) F-, C-, G-, D-, A, E, B (F♯+, C♯+, G♯+, and D♯+), or (in order) E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- (128/81), D (16/9), E (2/1), with G♯+ being 81/64 and D#+ being 729/512. The final F- has an augmented sixth chord, B7b5/F (B D# F A), which resolves to a major chord that touches on the minor third.
5 7 9 chord on E, eight steps in the octave. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include eight steps in the octave, based on 5:7:9 and of which only the just version would be used. Traditional notation: E B♭ D.
Author: Created by Hyacinth (talk) 06:34, 25 November 2010 using Sibelius 5.
808 drum-machine pattern with oldschool monopoly stab/chord. Notes played:. G4 d#4g4d5 f#5c5g4. Dfx buffer override is applied on the 808 kick/lg pattern to add a bouncy style. Can also upload individuals sounds/tracks if asked. . .
Simple type of chord progression, low gain type of distortion with a mild flange effect. Probably good for a break or intro but could be used for more if broken up. Changes tempo and tone near the end into something completely different.
Think of a spaceship launching from a desolate planet with hardly any fuel reserves. Sorta heavy distortion with the right amount of phaser and chord progression. Almost moody and atmospheric.
Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone
