60 Royalty-Free Audio Tracks for "Diminished Chords"

Diminished seventh chord on C

Half-diminished seventh chord on C

Diminished seventh chord on B.

Chord progression with diminished seventh chords added.

Chord progression with diminished seventh chords added, without chords added yet.

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

Sharpened subdominant with diminished seventh chord in C.

Diminished seventh chord as incomplete ninth in C.

Common-tone diminished seventh chord.

Half-diminished seventh chord on sharpened supertonic in C.

Half-diminished seventh chord on sharpened subdominant in C.

Half-diminished seventh chord on supertonic in C minor.

Diminished seventh chord to dominant cadence (bo-e7-A7-D).

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

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

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Common-tone diminished seventh chord (♯vio42, in D major: b♯o7) in Tchaikovsky's Nutcracker Suite, op. 71a, III, Valse des Fleurs, mm.1-4.

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

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

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

Leading-tone seventh chord in C minor.

Common-tone diminished seventh chord in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

Leading-tone seventh chord in C major.

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

Iidim6 chord in C.

viio7 in G major, on the guitar.

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

Diminished triad on B, as MIDI

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη

Diminished triad on C , as MIDI.

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.

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

Diminished seventh chord's use in modulation.

Fifteenth chord from Perry on C

Full diatonic fifteenth chord from Listz on B

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

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.

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

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

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

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.

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

Beethoven Appassionata 3 final bars of Andante

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).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving. (fo7 to G-flat)

Super useful electronic chords. The omnichord is a true classic. The only catch is you have to chop them yourself. I just load them into a beat slicer and go to town :). Also sounds amazing with distortion!.