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

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

A thirteenth chord "collapsed" into one octave results in a dissonant, seemingly secundal[1] tone cluster. Created by Hyacinth (talk) 22:18, 5 July 2009 using Sibelius 5.

One of four 'Link' chords, all-interval twelve-tone sets containing an all-trichord hexachord.

Last chord of Anger's Tintamarre (The Clangor of Bells) (1911).

Common-tone modulation between C minor and its relative major Eb, using the common-tone G, in Schubert's Op. 163 (D. 956).

The opening eleven note chord from Aaron Copland's Inscape, without orchestration shown.

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

*6859rd harmonic on C = B. Just: 4/12 = 892.54 cents. Limit: 19-limit. MIDI pitch bend: 78,61

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Common chord modulation in Mozart, Sonata in D Major, K. 284, III, m. 1-8.

viio6 as a substitute for V43 chord in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

*Undecimal neutral seventh on C = B↑♭- (Ben Johnston's notation). 11:6 = 1049.36 cents. Limit: 11-limit.

*Diminished fifth on C = G♭. Equal-tempered: 26/12:1 = 600 cents. MIDI pitch bend: none

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

Alpha scale harmonic seventh chord on C. MIDI pitch bend matches intervals.

Two examples of tone-cluster notation as first used by Henry Cowell.

3-10 trichord on C. Diminished chord.

*Augmented octave and diminished unison on C = C♯. Equal-tempered: 21/12:1 = 100 cents. MIDI pitch bend: none Note how the diminished unison is essentially equivalent to the augmented unison.

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

Tone row from "Tot" ["Lifeless"], Drei Lieder, Op. 48.

The intro to L'Isle Joyeuse, by Claude Debussy. Created by Hyacinth (talk) 06:38, 19 January 2012 (UTC) using Sibelius 5.

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

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.

Mother chordMutterakkord

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

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

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

Root, in red, of a C major chord.

Sixth (A), in red, of a C added sixth chord. Created by Hyacinth (talk) 15:57, 4 July 2010 using Sibelius 5.

Chopin's Prelude in C minor modulates within the first three measures.

A recording that shows the effect of a Shepard tone

Minor chord on A.

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

Common-chord modulation in Tchaikovsky, Mazurka Op. 39, No. 10.

Berg's basic tone row from Lulu on C.

Berg's Dr. Schön tone row from Lulu on C.

Tone row from the first movement of Alban Berg's Lyric Suite, according to George Perle.

Berg's Lyric Suite Mov. VI tone row 2-P.

Berg's Lyric Suite Mov. VI tone row 1-P

Nono- Il Canto sospeso all-interval series, as Midi

Berg's Alwa tone row from Lulu on C.

Principal forms of Webern's tone row from Variations for piano, op. 27, movement 2.

The tone row from the first movement of Alban Berg's Lyric Suite, according to Wolfgang Stroh.

Pierre Boulez's Second Piano Sonata series. Created by Hyacinth (talk) 01:57, 19 October 2010 using Sibelius 5.

Berg's Lulu Schoolboy tone row on C.

Diminished octave on C♯ = C♮. Equal-tempered: 211/12:1 = 1100 cents.

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Janacek Sinfonietta 2nd movement, opening bars