1.061 file audio bebas royalti untuk "Half Diminished Seventh Chords"

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).

Minor triad on A in first inversion. Created by Hyacinth (talk) 18:56, 23 November 2010 using Sibelius 5.

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).

Dominant form chord: Dominant ninth chord preceding tonic chord and possessing a primary dominant function.

Minor eleventh chord in Herbie Hancock's "Maiden Voyage".

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).

The Carpenters chord notated in C Major. Dominant 9sus4 chord in C major: G9sus4.

[Dominant] eleventh chord in F, on C (C11). "As it appears in actual music": C, —, G, B, D, F.

Dominant thirteenth chord (V13) in F major (C E G B♭ D).

Tritone substitution and altered chord as, "nearly identical". Chords: C7, F♯7, and C7 +9 +5: Root 3rd 5th 7th 9th 11th 13th C

Viennese trichord as dominant. Created by Hyacinth (talk) 21:31, 4 July 2010 using Sibelius 5.

Minor 6/9 chord on C. Created by Hyacinth (talk) 09:57, 11 December 2011 (UTC) using Sibelius 5.

Minor ninth chord on C. Created by Hyacinth (talk) 08:44, 29 May 2011 (UTC) using Sibelius 5.

Ninth augmented fifth chord on C.

*Just tritone on C = G♭- (Ben Johnston's notation). 64/45 = 609.78 cents. Limit: 5-limit. MIDI pitch bend: 16,67

*Diaschisma on C = D--. 2048:2025 = 19.5 cents. Limit: 5-limit. MIDI pitch bend: 33,70

*Hundred-sixty-ninth harmonic on C = F♭. Just: 169:128 = 481.06 cents. Limit: 13-limit. MIDI pitch bend: 120,57 on P4

*Bohlen-Pierce scale: interval between C and F, lesser septimal tritone on C = F. Just: 7/5 = 582.51 cents. Limit: 7-limit. MIDI pitch bend: 52,58

*Just diminished fourth on C = F♭ (Ben Johnston's notation). 32:25 = 427.37 cents. Limit: 5-limit. MIDI pitch bend: 97,72

*Three-hundred-forty-third harmonic on C = G♭+. Just: 343:256 = 506.48 cents. Limit: 7-limit. MIDI pitch bend: 9,66

C augmentedΕλληνικά: Η συγχορδία ΝΤΟ αυξημένη

Chords with a primary or secondary dominant function.

En I-ii7-V7-I-progression, sedan samma med V7 tritonussubstituerad.

C majorΕλληνικά: Η συγχορδία ΝΤΟ μείζονα

Suspended 2nd Chord on C.

Suspended 4th Chord on C.

Suspended fourth chord on C in first inversion.

Seventh flat thirteenth chord on C. Created by Hyacinth (talk) 17:05, 10 July 2008 using Sibelius.

Maj ninth chord on C.

Mu chord on C. Created by Hyacinth (talk) 22:54, 3 June 2009 using Sibelius 5.

a kind of chord

In a triadic context chords with omitted thirds may be considered "indeterminate" triads.

Lydian augmented polychord on C: 04689e = C,E,F#,G#,A,B.

Dominant seventh raised ninth vs dominant seventh split third chord.

Dominant minor ninth chord on C: C,E,G,Bb,Db. Created by Hyacinth (talk) 23:07, 14 December 2011 (UTC) using Sibelius 5.

Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone

Add6 chord on C

*Classic diminished sixth on C = Abb. Just: 192/125 = 743.01 cents. Limit: 5-limit. MIDI pitch bend: 98,77

*Classic diminished octave/Large just major seventh on C = C♭. 48/25 = 1129.33 cents. Limit: 5-limit. MIDI pitch bend: 49,73

Just diminished seventh in just C scale: B and A♭.

Dominant ninth chord on C.

D chord in all fourths tuning.

An arpeggiated chord. Created by SreeBot (talk) using Sibelius 5. GFDL-self

Dominant eleventh chord in four-part writing.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar. Created by Hyacinth (talk) 14:10, 7 July 2009 using Sibelius 5.

Dominant thirteenth: four-voice version. "This disposition is typical." Created by Hyacinth (talk) 18:33, 30 May 2011 (UTC) using Sibelius 5.

Thirteenth chord CMI7(add13). Created by Hyacinth (talk) 18:56, 4 July 2009 using Sibelius 5.

Tonic thirteenth chord on F. Created by Hyacinth (talk) 22:14, 1 July 2009 using Sibelius 5.

Seventh augmented eleventh chord on C.