75 Royalty-Free Audio Tracks for "Midi Files Of Chord Progressions"

Example of an altered chord progression in jazz.

IV-V-I chord progression in C. MIDI file Progression d'accords. Fichier midi.

iv IV I V chord progression.

Ragtime progression in C.

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

Chord progression with a borrowed chord second: v or Gm in C major.

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

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

Chord progression with diminished seventh chords added.

Four measure ii-V-I progression in C with Coltrane substitution.

Chord progression with a borrowed chord second to last: iv or Fm in C major.

Chord progression with diminished seventh chords added, without chords added yet.

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

The chord progression of the ostinato from "Creep" played with block chords with each chord in root position within one octave.

ii-V substitution.

German sixth with 6/4 resolution, generated on Sibelius.

V of V in C, on guitar.

♯IIo7 as dominant substitute.

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

Dominant form chord: Dominant ninth chord preceding tonic chord and possessing a primary dominant function.

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

Common-tone diminished seventh chord.

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

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

Stomp progression in C with staggered thirds, chord roots in red. Created by Hyacinth (talk) 04:06, 17 March 2010 using Sibelius 5.

vi-IV-I-V chord progression in C. Created by Hyacinth (talk) 23:43, 25 March 2010 using Sibelius 5. vi-IV-I-V progression resolving to I.

Phrygian Andalusian cadence.

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

Twelve bar blues in C, block chords.

Claude Debussy's Premiere Arabesque melody and chords abstracted from that melody.

Eight bar blues progression boogie woogie bassline on middle C.

Bergamesca ('The Buffens'), Straloch MS., c. 1600.

Chord progression of La Folia theme, a common harmonic pattern in baroque music. After chord notation provided by User:Hyacinth at en:File:Later Folia.png. Self-made with Lilypond

Tritone substitution (for V) notated as Italian sixth.

Borrowed chord common in rock music: I ♭VI IV. In C: C A♭ F.

Power chords in progression create parallel fifths, though the prohibit is not relevant since there is not intention to create independent voices. Created by Hyacinth (talk) 03:21, 29 January 2012 (UTC) using Sibelius 5.

Rule of the octave, major scale.

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

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

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

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

Sixteen-bar progression - repeating variety: third section's first half repeated twice.

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.

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

Dominant seventh in Beethoven's Fifth Symphony, last movement.

Altered major chord on B with diminished seventh (B, D♯, F♯, A♭), equivalent to a minor-minor seventh chord on G♯ (G♯, B, D♯, F♯) Alterierter Akkord mit verminderter Sept Esperanto: Ekzemplo por malsupren aliigita septo

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

Giovanni Benedetti's 1563 example of a comma "pump" or drift by a syntonic comma (21.51 cents) during a progression. Common tones between chords are the same pitch, with the other notes tuned in pure intervals to the common tones.

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

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