1,357 Royalty-Free Audio Tracks for "Common Tone Diminished Seventh Chords"

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]

Dominant seventh chord on G: G B D F. In root position, 1st inversion, 2nd inversion, and third inversion, then at the octave in root position.

Dominant seventh in C in first inversion

Dominant seventh flat five chord on C - As MIDI

Fifteenth chord from Perry on C

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

Seven six chord on C (C7/6). Created by Hyacinth (talk) 15:53, 26 June 2011 (UTC) 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

Full diatonic fifteenth chord from Listz on B

Dominant seventh chord (V7) in C, G7.

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.

G7alt chord.

Seventh suspension four chord on C. Created by Hyacinth (talk) 20:28, 31 May 2011 (UTC) using Sibelius 5.

Major seventh chord on F.

Seventh augmented fifth chord on C.

Harmonic seventh chord on C. Equal tempered major chord with quarter tone flat minor seventh (950 cents). Created by Hyacinth (talk) 18:56, 10 November 2011 with Sibelius 5.

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

Dominant seventh flat nine chord on C - As MIDI

Minor seventh chord on e iii7 in C.

VI7 in C minor. Created by Hyacinth (talk) 15:26, 2 July 2011 (UTC) using Sibelius 5.

Minor major seventh chord on IV in C. Created by Hyacinth (talk) 11:19, 1 July 2011 (UTC) using Sibelius 5.

III+7M chord in C minor.

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

Dominant seventh raised ninth vs dominant seventh split third chord.

Iidim6 chord in C.

Dominant raised ninth flat five chord on C. C E Gb Bb D#.

Augmented dominant seventh chord on C

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

Just minor seventh chord (48:40:32:27) on C.

Just minor seventh chord on C.

Dominant seventh in Beethoven's Fifth Symphony, last movement.

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.

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

Augmented major seventh chord on C

Minor major seventh chord on C.

45:54:64 = F#+, A+, C = C, Eb, Gb-

5:6:7 = E, G, B7b = C, Eb, G7b.

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

Beta scale dominant seventh chord on C. Created by Hyacinth (talk) 07:35, 12 April 2011 (UTC) using Sibelius 5 with midi pitch bend. Pitch bend appears to match intervals.

Shuffle pattern with staggered thirds played on piano.

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

C6add9 chord.

German sixth equals dominant seventh

Common-tone modulation between chromatic mediants in Mozart's K. 475, mm. 24-26.

Ninth vs added-ninth chord.

Just major seventh chord on C (8:10:12:15).