1,944 Royalty-Free Audio Tracks for "D Chord"

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

reale Quartfallsequenz

ii-V substitution.

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).

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).

V of V chord progression in "Sweet Georgia Brown". V/V/V-V/V-V-I: A-D-G-C. Note that the tempo is kept but the number of measures is cut in half.

V43 for comparison with viio6 as a substitute for V43 in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

viio6 as a substitute for V43 chord in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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

Minor chord on A.

Fifteenth chord from Perry on C

Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).

Diatonic mediant/submediant chord progression: I vi I (submediant, in major).

Diatonic mediant/submediant chord progression: I iii I (mediant, in major).

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.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

Major triad on C in first inversion.

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

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

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.

Tritone substitution. ii7-Vb7/V-IM7 instead of ii7-V7-IM7.

Quartal chords descending by semitone. Created by Hyacinth (talk) 21:48, 2 February 2012 (UTC) using Sibelius 5.

ii7-V7-IM7, for comparison with a tritone substitution (ii7-Vb7/V-IM7).

Phrygian Andalusian cadence.

V-IV-I turnaround in C. Created by Hyacinth (talk) 08:54, 6 December 2010 using Sibelius 5.

Stomp progression, block chords. IV7-#ivdim7 I7of5-I7 IV7 -#ivdim7 I7of5-I7 IV7-#ivdim7 I7of5-V7ofVofV V7ofV-V7 I7

Stomp progression two-measure three-chord harmonic cycle. F F#dim7 C7/G C7.

Stomp progression in Ab. Created by Hyacinth (talk) 07:22, 14 July 2008 in Sibelius.

Ragtime progression in C.

Fifteenth chord from Marpurg on A: A,(C,E,)G,B',D',F',(A"). Resolves to C,E,G,C',E'.

Dominant seventh raised ninth vs dominant seventh split third chord.

Common-tone diminished seventh chord.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

Twelve bar blues in B, block chords. Created by Hyacinth (talk) 09:25, 17 December 2010 using Sibelius 5.

Rule of the octave, major scale.

Predominant chord: ♭III+63.

Twelve bar blues in C, block chords.

I-IV-♭VII-IV chord progression. Barre chords on a MIDI acoustic guitar: C-F/C-B♭-F/C.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 05:08, 14 July 2011 (UTC) using Sibelius 5.

Augmented chord progression: I+ vi63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Eight bar blues, guitar chords: I V7 IV7 IV7 V7-IV7 I V7.

Chromatic descending 5-6 sequence from which "Lay, Lady, Lay" sequence is derived.

C major triads played on piano: 1) root position, 2) first inversion, 3) second inversion