1.054 file audio bebas royalti untuk "Augmented Seventh Chords"

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

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

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

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

Leading-tone seventh chord in C minor.

Supertonic diminished seventh chord in C (D♯=E♭).

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

Dominant seventh flat nine chord on C - As MIDI

Minor seventh chord on e iii7 in C.

VI7 in C minor. Created by Hyacinth (talk) 15:26, 2 July 2011 (UTC) using Sibelius 5.

Minor major seventh chord on IV in C. Created by Hyacinth (talk) 11:19, 1 July 2011 (UTC) using Sibelius 5.

Sharpened subdominant with diminished seventh chord in C.

Leading-tone seventh chord in C major.

Half-diminished seventh chord on sharpened supertonic in C.

Half-diminished seventh chord on sharpened subdominant in C.

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

Common-tone diminished seventh chord in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

Chord progression with diminished seventh chords added, without chords added yet.

Ninth augmented fifth chord on C.

Chord progression with diminished seventh chords added.

Dominant raised ninth flat five chord on C. C E Gb Bb D#.

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

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

Just minor seventh chord (48:40:32:27) on C.

Just minor seventh chord on C.

Augmented triad on C, As MIDI

John Stepan Zamecnik's 1913 composition Mysterioso - Burglar Music 1, which appeared in Sam Fox Moving Picture Music volume 1.

Dominant seventh in Beethoven's Fifth Symphony, last movement.

Diminished seventh chord as incomplete ninth in C.

Minor major seventh chord on C.

Beta scale dominant seventh chord on C. Created by Hyacinth (talk) 07:35, 12 April 2011 (UTC) using Sibelius 5 with midi pitch bend. Pitch bend appears to match intervals.

Shuffle pattern with staggered thirds played on piano.

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

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

Augmented triad on D.

German sixth equals dominant seventh

V43 for comparison with viio6 as a substitute for V43 in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

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

Beethoven Appassionata 3 final bars of Andante

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.

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

Just major seventh chord on C (8:10:12:15).

Just harmonic seventh chord on C. Created by Hyacinth (talk) 18:59, 10 November 2011 with Sibelius 5.

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 seventh chord's use in modulation.

English: Chopin Prelude, Op. 20, No. 10 (1832) opening. Consecutive diminished seventh chords as whole tone scale harmony. Piston analyses viio as Vo9 with a missing root.

*Augmented unison on C = C♯. Equal-tempered: 21/12:1 = 100 cents. MIDI pitch bend: none Note how the diminished unison is essentially equivalent to the augmented unison.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.