19 безкоштовних аудіофайлів для "Secondary Dominant"

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

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

Chords with a primary or secondary dominant function.

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

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

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

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

Secondary dominant with barbershop seventh chords. V/V - V - I in F major (G7-C7-F). Derived from [1]. In just intonation. Sevenths are harmonic sevenths, and the F in the first measure is 27.26 cents lower than the F in the third measure. Pitch bend matches intervals.

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

ii-V substitution.

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

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).

An example of how the subtonic serves as a secondary dominant to the mediant (in A minor: G is the dominant of C). From Bach's Chorale Ach wie flüchtig, ach wie nichtig, BWV 26. It is a reduction of the opening of the "Choral" or sixth movement.

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:

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.

Picardy third in Bach - BWV 81.7, mm. 12-13. Created by Hyacinth (talk) 00:21, 13 July 2011 (UTC) 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).

Secondary dominants in Beethoven's Symphony No. 1, introduction.