1 327 безкоштовних аудіофайлів для "Chords"

D min7 chord of a halion 6 patchmultisample (c0-c6). Source: zebra 2, spectro blend oscillators (additive synthesis). Strong processing with spectral fx (esp. Mtransform), eq/geq + compressor to balance the frequency spectrum. Feel free to suggest/demand other chords. Don´t hesitate. . .

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).

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

Dream Chord on G, tuned 12:16:17:18. MIDI pitch bend appears to match intervals.

Example of a German sixth chord, preceded by predominant chords, in Scott Joplin's Binks' Waltz (1905).

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).

Sound i use in disquiet junto project 0544: feedback loopthe assignment: share music-in-progress for input from others.

My wife singing a 3-part triad as a choir of angelic voices.

An open composition of 12 open chords uploaded by speedy, in 65 seconds, creating a sad atmosphere.

Organ chords good suited for a hip hop beat intro.

A single grand piano chord (dark and moody) with an overly-loud pedal-up sound at the end.

A short synth major chord. Can be used for game sfx, success alerts, etc.

Single chord shot/sample of choir/synth pad. Dissonant sound (over d minor).

Major triad on C in first inversion.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

Pretty synth sound made with a minimoog, detuned, ideal for chords.

Electric guitar, mild gain. Repeating riff pattern up and down the fretboard.

Filtering cutoff and messing with reverb parameters on an airy massive patch.

German sixth with 6/4 resolution, generated on Sibelius.

Diminished seventh chord to dominant cadence (bo-e7-A7-D).

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-VI-I.

High melody and chordscinematic, magical.

Complexe sonore: the octatonic scale may be arranged as four major chords or seventh chords. Created by Hyacinth (talk) 13:49, 13 June 2010 using Sibelius 5.

Modulation with subsidiary chord (in blue). Created by Hyacinth (talk) 02:10, 15 November 2011 (UTC) using Sibelius 5.

Guitar riff with effects,frakum track.

This is a mix up one note piano rhythm and chords for strings. Feel free to use!.

ii-V substitution.

Augmented triad on C, As MIDI

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).

A major chord + minor 7th with following samples (listed in order):an equal tempered arpeggiothe matching equal tempered chordan arpeggio with just intonationthe matching chord with just intontation.

Some future bass chords for a track im working on. Feel free to use them for whatever you like :3.

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

Common-chord modulation in Tchaikovsky, Mazurka Op. 39, No. 10.

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

C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.

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

Alpha scale harmonic seventh chord on C. MIDI pitch bend matches intervals.

French sixth chord in Schubert's D.795, No. 5, "Am Feierabend" ("The Hour of Rest").

This is something what i'm thinking of for a while. It's not very musical but i'm trying to find how are this type of chords useful?. When i listen this chord it gives me some strange sad-happy mood that changes rapidly in my head.

La Monte Young's magic chord. Tuned from E = 1/1.Gann, Kyle (1997). "La Monte Young's The Well-Tuned Piano", La Monte Young Web Page.

I made this chord progression using onlinesequencer. Net.

C minor played with hybrid vst for ableton. Settings set to square wave, and filter with resonance.

Some chords played on an organ. It sounds like your in a cathedral. [cc zero].

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-♭vi-I.

4-22B (minor sus4 chord) tetrachord on C

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: I-♭III-I.

Chromatic sequence of inverted minor chords played on a digital piano. Panto villain signifier.