2,070 Royalty-Free Audio Tracks for "C Chords"

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

Full diatonic fifteenth chord from Listz on B

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).

Pythagorean major chord on C.

Werckmeister temperament major chord on C.

C major triad, played by me

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

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

Bad guy/"Villian" motif/riff.

Dominant thirteenth on F in sixth inversion: DE♭FGAB♭C. V13 resolves to I6.

Dominant eleventh on F in fifth inversion: B♭CE♭FGA. V11 resolves to I.

Prometheus scale on C.

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.

viio/V - V - I chord progression. Common in ragtime.

Minor chord on A.

Half-diminished seventh chord on supertonic in C minor.

Minor seventh chord on d (ii7) in C. Created by Hyacinth (talk) 07:23, 14 August 2011 (UTC) using Sibelius 5.

Minor seventh chord on a vi7 in C. Created by Hyacinth (talk) 07:25, 14 August 2011 (UTC) using Sibelius 5.

viio7 in G major, on the guitar.

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

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

Altered major chord on B with diminished seventh (B, D♯, F♯, A♭), equivalent to a minor-minor seventh chord on G♯ (G♯, B, D♯, F♯) Alterierter Akkord mit verminderter Sept Esperanto: Ekzemplo por malsupren aliigita septo

Borrowed chord common in rock music: I ♭VI IV. In C: C A♭ F.

I - ♭VII - ♭VI - ♭VII in C. Created by Hyacinth (talk) 00:31, 14 March 2010 using Sibelius 5.

Chord progression with a borrowed chord second: v or Gm in C major.

Chord progression with a borrowed chord second to last: iv or Fm in C major.

Dominant eleventh without third.

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

Seventh of a dominant seventh chord in C. Created by Hyacinth (talk) 22:57, 13 May 2010 using Sibelius 5.

Minor scale on C. Created by Hyacinth (talk) 19:43, 1 April 2010 using Sibelius 5.

C major scale, ascending and descending

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

The Carpenters chord notated in C Major. Dominant 9sus4 chord in C major: G9sus4.

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

Scale of the Locrian mode starting on C [ogg vorbis sound file]

Scale of the Aolian mode starting on C

Scale of the Phrygian mode starting on C [ogg vorbis sound file]

Major triad on C in first inversion.

C majorΕλληνικά: Η συγχορδία ΝΤΟ μείζονα

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

Power chords in progression create parallel fifths, though the prohibit is not relevant since there is not intention to create independent voices. Created by Hyacinth (talk) 03:21, 29 January 2012 (UTC) using Sibelius 5.

Altered dominant played twice then resolved to the tonic. Created using Sibelius and Audacity.

V-I progression, unaltered dominant resolving to the tonic. Created by Hyacinth (talk) 22:29, 9 July 2008 using Sibelius and Audacity.

C augmentedΕλληνικά: Η συγχορδία ΝΤΟ αυξημένη

III+7M chord in C minor.

Tritone substitution and altered chord as, "nearly identical". Chords: C7, F♯7, and C7 +9 +5: Root 3rd 5th 7th 9th 11th 13th C

Leading-tone seventh chord in C minor.

Minor seventh chord on e iii7 in C.

Supertonic diminished seventh chord in C (D♯=E♭).

Sharpened subdominant with diminished seventh chord in C.