55 Royalty-Free Audio Tracks for "Inversion"

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

Dominant seventh in C in first inversion

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.

Predominant chord: i64.

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.

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.

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

Predominant chord: ♭III+63.

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

Suspended fourth chord on C in first inversion.

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

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

Contact of two crystal glasses.

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.

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

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

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

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

Iidim6 chord in C.

A more funky version of birds.

viio7 in G major, on the guitar.

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

D-over-F-sharp slash chord.

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

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.

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

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

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.

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)

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)

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.

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.

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.

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.

Inversions - Part 1 by TRG Banks

Inversions - Part 2 by TRG Banks