20 Royalty-Free Audio Tracks for "Four Part Harmony"

V of V in C, four-part harmony. From Bach.

V/V-V-I in C, in four-part harmony.

V65 of V in C, four-part harmony. Reduced from Chopin.

V of V in C, four-part harmony. Reduced from Chopin.

ii-V-I turnaround in C, in four-part harmony.

ii-V-I turnaround in C, in four-part harmony.

ii-V-I turnaround in C, in four-part harmony.

V of V in C, four-part harmony. Bruce Benward and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition: p.269. ISBN 978-0-07-294262-0.

Dominant thirteenth chord in four-part writing.

Dominant thirteenth: four-voice version.

Dominant eleventh chord in four-part writing.

Four-voice texture from the Genevan psalter: Old 124th. Created by Hyacinth (talk) 01:43, 30 January 2012 (UTC) using Sibelius 5.

Annotated musical notation of beginning of refrain from the Christmas carol "Angels We Have Heard on High". Markings illustrate how melodic/harmonic sequence occurs in music.

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

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

An excerpt from the traditional Latin song "Adeste Fideles". Created by Hyacinth (talk) 22:50, 1 February 2012 (UTC) using Sibelius 5. See: :Image:Adeste Fideles sheet music sample.svg

An ascending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff similar to the descending fifths sequence, except going in the opposite direction.

The standard way of filling in this descending thirds pattern is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.

An important subtype of the descending 5-6 sequence is the root position variant, also known as the Pachelbel sequence, due to the use of this sequence in Pachelbel's Canon. The Pachelbel sequence changes the first inversion chords in the descending 5-6 sequence to root position chords, resulting in a bass pattern that moves down a fourth, and then up stepwise.