992 Royalty-Free Audio Tracks for "Secondary Supertonic Chords"

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

Subdominant parallel in C major. Created by Hyacinth (talk) 04:21, 1 May 2010 using Sibelius 5.

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).

viio/V - V - I chord progression. Common in ragtime.

Minor seventh chord on d (ii7) in C. Created by Hyacinth (talk) 07:23, 14 August 2011 (UTC) using Sibelius 5.

Half-diminished seventh chord on supertonic in C minor.

Secondary chords in Maria Wolowska Szymanowska's Nocturne in B-flat Major, mm.1-5.

Supertonic diminished seventh chord in C (D♯=E♭).

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

Half-diminished seventh chord on sharpened supertonic in C.

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Chord progression with diminished seventh chords added.

Secondary chords in Mozart K 475.

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.

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

The secondary dominant chords of the key of C major, each given before the chord of which it is the dominant. Digital recording, made with an acoustic piano and Wavesurfer software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by Opus33 into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

ii-V substitution.

Extended dominant relationship in Schubert's German Dance, D. 643, opening.

Subtonic as secondary dominant to the mediant in minor from Brahms Op.76.7, Eight Pieces, for piano (1878).

Excerpt from Mendelssohn's Op. 102, No. 3, mm. 47-49. Original work is public domain, image by the uploader.

Secondary leading tone in Beethoven Sonata in C for piano Op. 53, first movement.

Secondary dominants in Beethoven's Op. 14 No. 2, mov. II, mm.16-19.

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.

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

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

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

Root, in red, of a C major chord.

Sixth (A), in red, of a C added sixth chord. Created by Hyacinth (talk) 15:57, 4 July 2010 using Sibelius 5.

Sequential modulation through the circle of fifths in Haydn, Quartet Op. 3, No. 3, IV, Hob.III:15 (now considered spurious, perhaps by Roman Hoffstetter).

Primay triads in c, as MIDI

Extended dominants/successive secondary dominants in Chopin's Op. 26, no. 1, mm.62-63. V/ii = V/V/V, V/vi = V/V/V/V.

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.

Minor chord on A.

viio7 in G major, on the guitar.

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

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

Ninth (D), in red, of a C added ninth chord. Created by Hyacinth (talk) 16:46, 4 July 2010 using Sibelius 5.

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.

Minor seventh chord on a vi7 in C. Created by Hyacinth (talk) 07:25, 14 August 2011 (UTC) using Sibelius 5.

7sus4 chord on C

Fifteenth chord from Perry on C

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

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

I - ♭VII - ♭VI - ♭VII in C. Created by Hyacinth (talk) 00:31, 14 March 2010 using Sibelius 5.

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

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

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.

Altered dominant played twice then resolved to the tonic. Created using Sibelius and Audacity.

V-I progression, unaltered dominant resolving to the tonic. Created by Hyacinth (talk) 22:29, 9 July 2008 using Sibelius and Audacity.

Primary triad in C in just intonation. Created by Hyacinth (talk) 11:17, 22 December 2011 (UTC) using Sibelius 5.