34 Royalty-Free Audio Tracks for "Augmented Chords"

Seventh augmented fifth chord on C.

Augmented dominant seventh chord on C

Ninth augmented fifth chord on C.

Augmented major seventh chord on C

Minor ninth augmented fifth chord on C. C E G♯ B♭ D♭.

Seventh augmented eleventh chord on C.

Alternate augmented ninth chord on C.

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

III+7M chord in C minor.

Augmented chord progression: I+65 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified].

Fifteenth chord from Perry on C

Augmented triad on C, As MIDI

C augmentedΕλληνικά: Η συγχορδία ΝΤΟ αυξημένη

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

Augmented triad on D.

Created using Sibelius.

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

Full diatonic fifteenth chord from Listz on B

Some descending augmented chords played on guitar.

Fifteenth chord from Marpurg on A: A,(C,E,)G,B',D',F',(A"). Resolves to C,E,G,C',E'.

Augmented dominant seventh raised ninth on C. C E G♯ B♭ D♯.

I had this idea yesterday i think, to record a set of chords in vocal with the lords name. This is the chord progression::. 1st. F g# c = f minor. 2nd. D f a# = i'm calling this a d minor augmented. This is really a bflat major chord, but since i started it with a 'd', i'm calling in a d minor augmented ; ) someone's gottago for it. 3rd. G# c d# = g# major. 4th. F a c = f major. Please enjoy and comment, if you use it in anything i would just like to know, but please feel free to use this anywhere. Thanks, god bless.

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+ IV64. 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+64 IV6. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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

3-12 trichord on C. Augmented chord.

Predominant chord: ♭III+63.

Our town was testing the sewers somehow using audio tones to measure something. Maybe resonant frequency or something like that. It sounded vey musical since they were using 3 tones per octave, like a scale based on an augmented fifth chord.

Musical scale called "Ishartum" by Lou Harrison, often called the "Flamenco mode", in Pythagorean tuning on E, as follows: (by fifths) F-, C-, G-, D-, A, E, B (F♯+, C♯+, G♯+, and D♯+), or (in order) E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- (128/81), D (16/9), E (2/1), with G♯+ being 81/64 and D#+ being 729/512. The final F- has an augmented sixth chord, B7b5/F (B D# F A), which resolves to a major chord that touches on the minor third.