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

iv IV I V chord progression.

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

Example of an altered chord progression in jazz.

Ragtime progression in C.

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

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

Chord progression with diminished seventh chords added.

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

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

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]

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

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.

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

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

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

Eight bar blues progression boogie woogie bassline on middle C.

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

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

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

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

ii-V substitution.

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.

♯IIo7 as dominant substitute.

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

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 05:08, 14 July 2011 (UTC) using Sibelius 5.

Common-tone diminished seventh chord.

Phrygian Andalusian cadence.

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

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

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

V of V in C, on guitar.

Rule of the octave, major scale.

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

Jazz standard bridge, ragtime progression: E7-A7-D7-G7, III7-VI7-II7-V7, or V7/V/V/V - V7/V/V - V7/V - V7 [or V7/vi - V7/ii - V7/V - V7]. MIDI file Progression d'accords : Pont Jazz standard. La progression de ragtime (E7-A7-D7-G7) apparaît souvent dans les ponts des standards de jazz. Fichier midi.

Twelve bar blues in C, block chords.

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

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.

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

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.

Tritone substitution (for V) notated as Italian sixth.

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.