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

Septimal minor triad on C (C,E7b,G or 6:7:9)

C major triad, played by me

0 7 10 was judged most consonant by the untrained subjects. Title refers to number of semitones (unison=0).

Extended dominant relationship in Schubert's German Dance, D. 643, opening.

Dream Chord on G, tuned 12:16:17:18. MIDI pitch bend appears to match intervals.

Motherchord (Mutterakkord), pyramidal (symetrical) chord. A G# E C# B F# C♮ F♮ G Bb D Eb = 0 e 7 4 2 9 3 8 t 1 5 6.

Alpha scale harmonic seventh chord on C. MIDI pitch bend matches intervals.

La Monte Young - Magic opening chord: E♭, E, F, A, B♭, C, D, E♭, E, F, G, A, B♭ = 2:3:7:9:21:63:567:189:567. The opening chord (left), E, F, A, B♭, D, E, G, and A, and the magic chord (right), E♭, B♭, C, E♭, F, B♭.

Mother chordMutterakkord

vi7 as tonic substitute. Created by Hyacinth (talk) 16:17, 14 July 2010 using Sibelius 5.

Bad guy/"Villian" motif/riff.

5:7:9 is the first inversion of the major triad. Title refers to harmonics (fundamental=1:3:9:etc.).

French sixth chord in Schubert's D.795, No. 5, "Am Feierabend" ("The Hour of Rest").

Chic=kens.

Bob Dylan's "Lay, Lady, Lay" verse.

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

Harmonic Chord 3:5:7:9. Traditional notation: G E B♭ D. Title refers to harmonics (fundamental=1:3:9:etc.).

Excerpt from Bach's Mass in B minor

Scriabin, Sonata Op.5 Op.53. Meas.263-264

Truck driver's gear change, modulation up a whole step, in "Because the Night".

Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position fourth.

Consonant harmonies based on the odd harmonic overtones 3/5/7/9.

Audio sample which exemplifies Andalusian cadences, as shown in the article (see the picture below the Structure section). Recorded using an emulated acoustic Steinway piano through the Sound Font 2 technology, on August 9th, 2007 and released into public domain in the same day.

Chord rewrite rules II: use of chromatic passing chords.

Created by Hyacinth (talk) 19:12, 18 January 2011 using Sibelius 5.

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

Harmonic progression from a Mozart piano sonata--sound file. Piano Sonata in G, K. 283, third movement, starting measure 247. Digital recording by Opus33 using Wavesurfer software. Transcription into chords by Opus33, loosely following Piston and DeVoto, Harmony. This music is in the public domain. The recording is not copyrighted, and it is hereby released by its creator (known in this context by the pseudonym Opus33) into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

Chord rewrite rules I: replacement or substitution of a chord by its dominant or subdominant.

iv IV I V chord progression.

Montgomery-Ward bridge in C (I7-IV7-ii7-V7). Created by Hyacinth (talk) 06:58, 11 June 2010 using Sibelius 5.

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

reale Quartfallsequenz

tonale Quartfallsequenz

ii-V substitution.

Dominant thirteenth chord in Claude Debussy's Prelude to the Afternoon of a Faun (1894). Created by Hyacinth (talk) 02:50, 5 July 2009 using Sibelius 5.

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

A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.

Example of leading-tone triad (viio) and secondary leading-tone triad in Johann Sebastian Bach's Chorale: Gott der Vater wohn' uns bei (BWV 317). Identified by Forte (1979) ISBN 0-03-020756-8 as BWV 748, which is currently attributed to Johann Gottfried Walther.

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

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

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

Sound file of a brief passage from Mozart's Piano Sonata in G, K. 283 Third movement, starting measure 247. .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Wolfgang Amadeus Mozart  (1756–1791)      

Stomp progression, block chords. IV7-#ivdim7 I7of5-I7 IV7 -#ivdim7 I7of5-I7 IV7-#ivdim7 I7of5-V7ofVofV V7ofV-V7 I7

Stomp progression two-measure three-chord harmonic cycle. F F#dim7 C7/G C7.

V of V chord progression in "Sweet Georgia Brown". V/V/V-V/V-V-I: A-D-G-C. Note that the tempo is kept but the number of measures is cut in half.

Phrygian Andalusian cadence.

V-IV-I turnaround in C. Created by Hyacinth (talk) 08:54, 6 December 2010 using Sibelius 5.

ii7-V7-IM7, for comparison with a tritone substitution (ii7-Vb7/V-IM7).