1,600 Royalty-Free Audio Tracks for "G Chords"

C major triad, played by me

0 7 10 was judged most consonant by the untrained subjects. Title refers to number of semitones (unison=0).

Extended dominant relationship in Schubert's German Dance, D. 643, opening.

Alpha scale harmonic seventh chord on C. MIDI pitch bend matches intervals.

Mother chordMutterakkord

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

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

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:

Bad guy/"Villian" motif/riff.

5:7:9 is the first inversion of the major triad. Title refers to harmonics (fundamental=1:3:9:etc.).

French sixth chord in Schubert's D.795, No. 5, "Am Feierabend" ("The Hour of Rest").

Example of a tonal answer in J.S. Bach's Fugue no. 16 in G minor, BWV 861, from the Well-Tempered Clavier, Book 1 Comienzo de ejemplo de una respuesta tonal en una exposición fugada. este fichero Midi corresponde a la exposición de la Fuga número 16 en Sol menor (BWV 861) extraído del libro 1 de la obra El clave bien temperado de Juan Sebastián Bach

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

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

Excerpt from Bach's Mass in B minor

Just hitting the same chord over and over again but ending up in an almost march like beat. Probably good for an intro or breakdown.

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

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

Consonant harmonies based on the odd harmonic overtones 3/5/7/9.

Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position fourth.

Chord rewrite rules II: use of chromatic passing chords.

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

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.

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

Chord rewrite rules I: replacement or substitution of a chord by its dominant or subdominant.

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]

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+ IV64. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

tonale Quartfallsequenz

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.

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

reale Quartfallsequenz

ii-V substitution.

Dominant thirteenth chord in Claude Debussy's Prelude to the Afternoon of a Faun (1894). Created by Hyacinth (talk) 02:50, 5 July 2009 using Sibelius 5.

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

A mix of a couple of sounds i found here. Gorilla by puniho and growl in growl pseudostereo by timbre.

Example of leading-tone triad (viio) and secondary leading-tone triad in Johann Sebastian Bach's Chorale: Gott der Vater wohn' uns bei (BWV 317). Identified by Forte (1979) ISBN 0-03-020756-8 as BWV 748, which is currently attributed to Johann Gottfried Walther.

A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.

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).

1920 recording of Bach's Air for G string (Air on the G string) (BWV 1068, D major. arr). Violin solo by Joel Belov with piano accompaniment by Robert Gayler.

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).

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.