49 Royalty-Free Audio Tracks for "Inversion"

Predominant chord: i64.

Dominant seventh in C in first inversion

viio7 in G major, on the guitar.

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

Predominant chord: ♭III+63.

Major triad on C in first inversion.

Major triad on F in second inversion

Major triad on F in first inversion

Major triad on C in second inversion.

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

Iidim6 chord in C.

D-over-F-sharp slash chord.

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

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

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.

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 2010 using Sibelius 5.

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

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

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

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

Contact of two crystal glasses.

Generated in audition via it's tone generator plug-in.

Self created patch on my korg poly 800 mki (inversed keys, as if that would matter ;)).

A more funky version of birds.

Reversed sound effect of a steel chain being dragged with reverb.

Suspended fourth chord on C in first inversion.

Predominant chord: I64.

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).

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).

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

Dominant thirteenth on F in sixth inversion: DE♭FGAB♭C. V13 resolves to I6.

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

3-2B trichord on C: [0,2,3]. Inversion of 3-2B.

Diminished chord in first inversion in Bach's WTC I, Prelude in G Major.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Created by Hyacinth (talk) using Sibelius 5.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar. Created by Hyacinth (talk) 14:10, 7 July 2009 using Sibelius 5.

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in first inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is first-root-first-second/first-root-first-second-first)

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in second inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is second-first-second-root/second-first-second-root-second)

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.

Dirty fmaj7 cycling envelope variations. 2nd inversion. Lazy chord patch.

A rumble of thunder from a storm over 50 miles away over the irish sea from an mcs during july 2016. The atmospheric conditions of that night, along with the lack of other noise allowed sounds to be heard much further than they normally would. The main reason was likely due to a strong temperature inversion close to the ground. Recorded with zoom h4n onboard mics.

Ringmodulated inversion of my speech from the file https://freesound. Org/people/kb7clx/sounds/648443/ invertedspeechcq. Wav. I took the raw recording and used goldwave's mechanize effect to translate my voice to a center frequency of 14khz. I then demodulated it first at 10. 6 and then 10. 2khz meaning that what comes out is essentially the opposite sideband, offset by 3. 4 and 3. 8khz respectively. 3khz just didn't sound as good. The first i filtered with a low pass of 2. 9khz, the second was filtered to below 3. 4khz to emulate a communications receiver passband. I am speaking upside down as described in this video. Https://www. Youtube. Com/watch?v=q_ykxzcbh-g beginning at 00:03:16. Being blind i can't see their diagram, but i've got my own by ear intuitive method, keeping in mind that oo and ee are farthest from each other, all other vowells get closer the closer they are to the middle of the human voice frequency range. I say: huhlay sue quee, sue quee, sue quee do ux. Cahlloong sue quee sue quee sue quee do ux. The ay in huhllay is like when a spanish speaker says béisbol (baseball). The a in cahlloong is like the a in cat if you're opening wide for the doctor. The oo is like the oo in book. Listen to the other file and you'll hear: hello cq cq cq dx. Calling cq cq cq dx.