1,111 Royalty-Free Audio Tracks for "Bad Chord"

Augmented triad on D.

Beethoven Appassionata 3 final bars of Andante

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.).

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).

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

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.

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.

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

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.

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.

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.

I tried to get a surround recording using mics, but there was a horrible street musician playing off in the distance. I thought it wouldn't be clear in the recording, but one of the mics picked him up quite well. The recording was ruined, so i did a little processing at home and came up with this freaky bit for your listening pleasure. Not sure if it's usable beyond listening, tho. . .

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.

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

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").

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.

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.).

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.

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.

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.