1,054 Royalty-Free Audio Tracks for "Augmented Seventh Chords"

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.

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

Barbershop bell chord. Pitch bend matches just 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.

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

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

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

Werckmeister temperament major chord on C.

Ives quarter tone fundamental chord.

Pythagorean major chord on C.

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.

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.

A major chord + minor 7th with following samples (listed in order):an equal tempered arpeggiothe matching equal tempered chordan arpeggio with just intonationthe matching chord with just intontation.

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.

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.

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

Excerpt from Bach's Mass in B minor

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

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