36 Royalty-Free Audio Tracks for "Mediant"

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

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

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

Diatonic mediant/submediant chord progression: I vi I (submediant, in major).

Chromatic mediant, A♭ (♭VI), in Brahms Op.90, II, mm.128-134.

Diatonic mediant/submediant chord progression: I iii I (mediant, in major).

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

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

Chord progressions involving the tonic, a chromatic mediant, and then the tonic: i-♯iii-i.

Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).

Chromatic mediant from Tchaikovsky's (1840–1893) Chant sans paroles.

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

Common-tone modulation between chromatic mediants in Mozart's K. 475, mm. 24-26.

♭III-V7 cadence in C.

Ritmo hecho mediante reason.

Sonido de mosquito emulado mediante sintetizadores de reason.

Sonido de motocicleta emulado mediante sintetizadores de reason.

Sonido de motocicleta emulado mediante sintetizadores de reason.

Sonido del viento emulado mediante sintetizadores de reason.

Sonido de agua hervida emulado mediante sintetizadores de reason.

♭III-V7 cadence with resolution in C.

Sonido de ambulancia emulado mediante sintetizadores de reason.

Sonido de ambulancia emulado mediante sintetizadores de reason.

Predominant chord: ♭III+63.

♭III+ chord in just intonation. Pitch bend matches intervals.

Bridge chord, named after en:Frank Bridge. Major chord with a minor chord a semitone above. Chord pictured followed by arpeggio with Db minor at the octave.

III+7M chord in C minor.

Minor seventh chord on e iii7 in C.

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

Este sonido fue grabado a partir del programa arduino en donde se envío un código y se manipula mediante unos potenciometros.

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.

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.

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.

Música ambiental experimental y electrónica para crear atmósfera de mundo fantasioso e irreal de las mentes humanas para las secuencias de la radionovela "asignaturas pendientes" de radioua de la universidad de alicante (españa). Sonido realizado mediante sintetizadores del software magix music studio. Experimental and electronic ambient music to create an atmosphere of fantasy and unreal world of human minds for the sequences of the radio soap opera "asignaturas pendientes" of radioua of the university of alicante (spain). Sound made by synthesizers from magix music studio software.