1,033 Royalty-Free Audio Tracks for "Augmented Chords"

Triad in Bohlen-Pierce tuning (0 7 10). Title refers to number of semitones (unison=0).

45:54:64 = F#+, A+, C = C, Eb, Gb-

One of four 'Link' chords, all-interval twelve-tone sets containing an all-trichord hexachord.

Secondary chords in Mozart K 475.

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

5:6:7 = E, G, B7b = C, Eb, G7b.

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

Just Intonation Major Chord (4:5:6)

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

The chord of A major played on an acoustic guitar. El acorde de A major toca en una guitarra acoustica.

So What chord.

Beethoven Appassionata 3 final bars of Andante

Chopin Waltz in D flat, Op. 64, No. 1

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.

The chord of F major played on an acoustic guitar. El acorde de F major toca en una guitarra acoustica.

Triad in Equal Tempered Bohlen-Pierce tuning (0 6 10 semitones). Title refers to harmonics (fundamental=1:3:9:etc.).

The chord of D major played on an acoustic guitar. El acorde de D major toca en una guitarra acoustica.

The chord of C major played on an acoustic guitar. El acorde de C major toca en una guitarra acoustica.

The chord of G major played on an acoustic guitar. El acorde de G major toca en una guitarra acoustica.

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

Example of a German sixth chord, preceded by predominant chords, in Scott Joplin's Binks' Waltz (1905).

Borrowed chord (viio 4 3) in Bach's Prelude in C Major from The Well-Tempered Clavier, Book I, BWV 846, mm. 13-15.

Chord from just Bohlen–Pierce scale: C-G-A Title refers to harmonics (fundamental=1:3:9:etc.)., tuned to harmonics 3, 5, and 7. "BP" above the clefs indicates Bohlen–Pierce notation.

iii7 as tonic substitute. Created by Hyacinth (talk) 16:16, 14 July 2010 using Sibelius 5.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Alpha scale major triad on C. MIDI pitch bend matches intervals.

Triad in Bohlen-Pierce tuning (0 11 13). Title refers to number of semitones (unison=0).

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

Major chord on C in 17 equal temperament (0,6,10).

Barbershop bell chord. Pitch bend matches just intervals.

Major chord on C in 19 equal temperament. 0,6,11. All notes within 8 cents of just intonation (rather than 14 for 12 equal temperament).

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.

Werckmeister temperament major chord on C.

Triad in Equal Tempered Bohlen-Pierce tuning (0 4 7 semitones). Title refers to harmonics (fundamental=1:3:9:etc.).

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.

Ives quarter tone fundamental chord.

Pythagorean major chord on C.

Triad in Equal Tempered Bohlen-Pierce tuning (0 4 10)

Bergamesca variant, MS. Lute Book, c. 1600.

Debussy Pelleas et Melisande prelude opening.

ii7-subV7-IM7-I6 progression. Chord quality substitution.

Diminished chord in first inversion in Bach's WTC I, Prelude in G Major.

viio7 as dominant substitute.

♯IIo7 as dominant substitute.

Four measure ii-V-I progression in C with Coltrane substitution.

Bohlen-Pierce chord: 0,1,2 (semitones), the most dissonant chord. Currently at 0, 169.75, and 310.88 cents. Title refers to number of semitones (unison=0).

Triad in Just Bohlen-Pierce tuning (0 6 10 semitones). Title refers to harmonics (fundamental=1,3,9,etc.).

Just minor chord on C: 10:12:15.