5,689 Royalty-Free Audio Tracks for "Voice Leading"

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

Details of the voice leading in m. 3-7 of BWV 941: original

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).

Voice leading for dominant eleventh chords in the common practice period. Created by Hyacinth (talk) 23:16, 6 July 2009 using Sibelius 5.

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving. (fo7 to G-flat)

Dominant form chord: Diminished leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

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

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

Diminished seventh chord on B.

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

Leading-tone half-diminished seventh chord as dominant in Mozart, Piano Sonata in D Major, III (end of Variation V), K. 284, mm.14-17.

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).

Diminished triad on B, as MIDI

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

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

Leading-tone seventh chord in C minor.

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

Leading-tone seventh chord in C major.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

Chord progression with diminished seventh chords added.

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.

Haha, I was just recording myself using vibrato while in chest voice. This for educational and useful purposes, feel free to use it.

Robotic voice effect using a en:vocoder. This effect is often found in film and television productions. For the technically minded, the voice is modulating a 110Hz en:sawtooth wave, which is the note A two octaves below en:A440. There is also some en:reverberation and phasing added. Note on playing this audio clip This audio clip is an en:Ogg Vorbis file. For a list of compatible media players, see the article at [1].

Р.Дриго. Балет "Эсмеральда", вальс. Исп.: Симфонический оркестр, дирижер капельмейстер Придворного оркестра Г.И.Варлих. Выпуск фирмы "Amour Gramophone record"

Антонио Бадзини "Танец шалунов". Исп.: Я.Кубелик (скрипка) The Dance of the Goblins (La Ronde des Lutins), Scherzo fantastique, Op. 25

Р. Дриго. Балет "Эсмеральда". Пиццикато. Исп.: Симфонический оркестр, дирижер капельмейстер Придворного оркестра Г.И.Варлих. Выпуск фирмы "Amour Gramophone record".

Композитор П.И.Чайковский. Опера " Евгений Онегин". Дуэт Няни и Татьяны ""О чем же, Таня" Исп.: М.А.Михайлова (сопрано) (ум. в 1943), Е.И.Збруева (контральто) (ум. в 1936) в сопровождении оркестра

punk-dark italian band Maybe the first band in Italy to completely refuse copyright on own self-produced work - record label stated permission to copy and distribute music contained.

Дж.Верди. Опера "Риголетто". Песенка Герцога "Сердце красавицы". Исп.: Д.А.Смирнов (тенор) (ум. в 1944). Выпуск фирмы "Amour Gramophone record"

Hamilton College Choir performs Hamilton's alma mater, Carissima, at the Home Concert at the end of the Spring Choir Tour of the Northeast.

Bahnhof Kronstadt (RO), Ankündigungsmelodie für Lautsprecheransagen (ora Brașovului, Ciprian Porumbescu) Esperanto: Braŝovo (RO), stacidomo, enkonduka melodio por laŭtparolilaj anoncoj (ora Brașovului, Ciprian Porumbescu) Română: Gara Brașov, melodia introductivă de anunțuri pe difuzorul (ora Brașovului, Ciprian Porumbescu)

V of V in C, four-part harmony. Bruce Benward and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition: p.269. ISBN 978-0-07-294262-0.

Air de Cour "Je suis ravi de mon Uranie" von Étienne MouliniéJe suis ravi de mon Uranie, Toute beauté pres d'elle est ternie:Jamais l'amour dedans ces boisN'en a fait voir, n'y regner de pareille,C'est une merveille,Sa seule voixPeut dompter, et sousmettre les plus grands Roys.