19 Royalty-Free Audio Tracks for "Second Inversion"

Major triad on F in second inversion

Major triad on C in second inversion.

Predominant chord: i64.

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

Predominant chord: I64.

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

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)

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).

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

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

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)

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

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.

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in root position 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 root-second-root-first/root-second-root-first-root)