13 безкоштовних аудіофайлів для "Voice Leading"

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

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

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.

Tritone substitution. F♯7 may substitute for C7, and vice versa, because they both share E♮ and B♭/A♯ and due to voice leading considerations.

A shepherd with rough voice is leading a flock of sheep. Faraway. Many bells, some discreet birds. A dog, traffic. France, summer 2009. Recorded with schoeps ab ortf,recorded on sounddevice 744tstereo wave, 16 bits, 48khz.

An mp3 recording of an orchestra tuning up to an "a" with a violin leading, starting with the woodwinds and brass, then moving to the string section. Recorded with a black sony ic voice recorder.

An mp3 recording of an orchestra tuning up to an "a" with a violin leading, starting with the woodwinds and brass, then moving to the string section. Recorded with a black sony ic voice recorder.

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).