1,666 Royalty-Free Audio Tracks for "Power Chords"

Augmented chord progression: I+64 IV6. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

reale Quartfallsequenz

tonale 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.

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.

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.

Diatonic mediant/submediant chord progression: I vi I (submediant, in major).

Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).

Diatonic mediant/submediant chord progression: I iii I (mediant, in major).

Soft, yet simultaneously powerful synth pad/synth string chords. Lightly processed- only minor eqing and reverb touches. Chord progression based in f# major. Free to use as desired.

Sound file of a brief passage from Mozart's Piano Sonata in G, K. 283 Third movement, starting measure 247. .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Wolfgang Amadeus Mozart  (1756–1791)      

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

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

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.

Phrygian Andalusian cadence.

V-IV-I turnaround in C. Created by Hyacinth (talk) 08:54, 6 December 2010 using Sibelius 5.

ii7-V7-IM7, for comparison with a tritone substitution (ii7-Vb7/V-IM7).

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.

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

Ragtime progression in C.

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.

Rule of the octave, major scale.

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.

Augmented chord progression: I+ vi63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Twelve bar blues in C, block chords.

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

Predominant chord: ♭III+63.

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

Chromatic descending 5-6 sequence from which "Lay, Lady, Lay" sequence is derived.

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.

Twelve bar blues in B, block chords. Created by Hyacinth (talk) 09:25, 17 December 2010 using Sibelius 5.

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

The mechanical noise and signature "chord" associated with the "mac mini (2010 model)" upon startup/boot. Brief mechanical motor and clicking noises followed by the famed sustained f sharp major chord (detuned 30 cents flat) being projected over low quality, built-in speakers. Mechanical noise has defined pitch and is predominantly in the mid-high frequencies. Recorded on zoom h2n, in small, empty room. Audio clip normalized in post-processing.

The sound of a large fan being switched on.

The sound heard while the fan runs.

Power failuredestroyed.

Schubert - op.9 D.365, mm.17-24. Modulation using German sixth in new key, enharmonic to dominant seventh in old key.

After You've Gone by Creamer and Layton (1918) verse, mm.7-23. Nashville number system realization on guitar.

Donald MacGillavry

Four-voice texture from the Genevan psalter: Old 124th. Created by Hyacinth (talk) 01:43, 30 January 2012 (UTC) using Sibelius 5.

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

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

Car door power lock (four doors).

A powerful sci-fi space explosion. Created with audacity. Use however you see fit.

Audacity:. • file→new. Left track• tracks→add new→mono track• change become left channel. • generate→chirp. . . - waveform: sine- startfrequency: 1000amplitude: 0. 5- endfrequency: 3000amplitude: 0. 5- interpolation: linear- duration 00h 00m 01. 000s. • effect→tremolo- wavefrom type: sine- starting phase (degrees): 0- wet level (percent): 100- frequency (hz): 6. 0. Right track:• tracks→add new→mono track• change become right channel. • generate→chirp. . . - waveform: sine- startfrequency: 1500amplitude: 0. 5- endfrequency: 4500amplitude: 0. 5- interpolation: linear- duration 00h 00m 01. 000s. • effect→tremolo- wavefrom type: sine- starting phase (degrees): 0- wet level (percent): 100- frequency (hz): 6. 0. • make stereo track.

Energía.