1,178 Royalty-Free Audio Tracks for "Diminished Intervals"

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

John Stepan Zamecnik's 1913 composition Mysterioso - Burglar Music 1, which appeared in Sam Fox Moving Picture Music volume 1.

Iidim6 chord in C.

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.

Diminished seventh chord on B.

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

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

Diminished seventh chord on C

Common-tone diminished seventh chord.

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

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

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.

Half-diminished seventh chord on C

Diminished triad on B, as MIDI

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

Leading-tone seventh chord in C minor.

Half-diminished seventh chord on supertonic in C minor.

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

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.

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

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

Sharpened subdominant with diminished seventh chord in C.

Leading-tone seventh chord in C major.

Half-diminished seventh chord on sharpened supertonic in C.

Half-diminished seventh chord on sharpened subdominant in C.

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 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.

I created this file myself (using Sibelius, Windows Sound Recorder, and Audacity) to illustrate the concept of interval class.

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.

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

Chord progression with diminished seventh chords added.

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

Melodic and harmonic intervals. Created by Hyacinth (talk) 15:19, 18 March 2011 (UTC) using Sibelius 5.

A chorale melody containing only steps, no skips: "Jesu, Leiden, Pein, un Tod".

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

Minor tenth on C - As MIDI

*Major ninth on C = D'. Equal-tempered: 214/12:1 = 1400 cents. MIDI pitch bend: none

Octave and Minor third on C

5 25 {\displaystyle {\sqrt[{25}]{5}}} = 5:11/25 = 111.45 cents. Interval used in Stockhausen's Studie II, a compound just major third (5/1) divided into 25 equal parts.

Major thirteenth on F

*Major tenth on C = E'. Equal-tempered: 216/12:1 = 1600 cents. MIDI pitch bend: none

Minor thirteenth on F, as MIDI

Simple and compound major third (major third and major tenth).

*Septimal kleisma on C. Just: 225/224 = 7.71 cents. Limit: 7-limit. MIDI pitch bend: 60,66

*Chromatic diesis on C. Just: 27:26 = 65.34 cents. Limit: 13-limit. MIDI pitch bend: 116,52

*Breedsma on C = E♭♭♭+. Just: 2401:2400 = 0.72 cents. Limit: 7-limit. MIDI pitch bend: 30,64

*Ragisma on C = C♯-. 4375:4374 = 0.396 cents. Limit: 7-limit. MIDI pitch bend: 16,64 SAME PITCH BEND AS File:Decameride on C.mid

Melodic perfect fifth descending.