293 Royalty-Free Audio Tracks for "Stomp Progression"

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

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

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

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

Bergamesca variant, MS. Lute Book, c. 1600.

Debussy Pelleas et Melisande prelude opening.

Diminished chord in first inversion in Bach's WTC I, Prelude in G Major.

iii7 as tonic substitute. Created by Hyacinth (talk) 16:16, 14 July 2010 using Sibelius 5.

Ragtime progression in C.

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

Augmented chord progression: I+#6 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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

Augmented chord progression: I+ IV64. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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

50s progression in C major, with different voicing.

Progression en do des années 1950, finissant en do. Fichier midi.

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

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.

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

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).

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

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).

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 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:

Charleston rhythm, simple rhythm commonly used in comping. Ragtime progression.

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

viio6 as a substitute for V43 chord in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

V43 for comparison with viio6 as a substitute for V43 in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

Two bricks bumping.

Something is falling on window.

Sfx of stepping in snow created with audacity; variation 1.

Sfx of stepping in snow created with audacity; variation 2.

Sfx of stepping in snow created with audacity; variation 3.

Stomping on ice.

This is a harshly manipulated file of rumbling that has been tweaked to the max by plug-ins and various noise making enhancers meant to simulate the sound of impacting. This, combined with the gentle rumble to accentuate.

Made with stomp2 vsti.

This sound can be used for free with no credits, though i'd appreciate credit.

Foot stomping on floor.

Single foot stomp.

Stereo mix of 4 foot stomps.

#camdenmididawiifoot stomping.

Chair stomping.

This is the 3rd of a set of electronic snippets inspired by my recent database course. This is the only piece that does not loop. Created in garageband.

Stomping/walking in boots. A zoom h2n handy recorder was used to capture the sound. Created by nick d.

Huge bass vibration - good for pitch shifting, satisfying click at the start. No decay.

Stomps made in an isolation booth.