1,039 Royalty-Free Audio Tracks for "Diminished Seventh Chords"

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

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.

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

Root, in red, of a C major chord.

Minor chord on A.

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.

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

Ninth (D), in red, of a C added ninth chord. Created by Hyacinth (talk) 16:46, 4 July 2010 using Sibelius 5.

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

*Classic diminished fifth on C = G♭. 36:25 = 631.28 cents. Limit: 5-limit. MIDI pitch bend: 1,74 MIDI.

*Diminished fifth tritone (Pythagorean diminished fifth) on C = G♭-. 1024:729 = 588.27 cents. Limit: 3-limit. MIDI pitch bend: 32,92 on P4

*Septimal diminished fifth??? on C.  ?/? = 658.50 cents. Limit: 7-limit.

D, F, Ab = C, Eb-, Gb-

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

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

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.

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.

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

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

*5-limit limma/Enharmonic diesis on C. 128/125 = 41.06 cents. Limit: 5-limit. MIDI pitch bend: 18,77

Fourth of a suspended fourth chord on C

Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 2010 using Sibelius 5.

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.

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).

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

E5 power chord in eighth notes. Created by Hyacinth (talk) 12:48, 2 July 2009 in Sibelius 5 set on "electric guitar" triple forte.

Mu chord on G. Created by Hyacinth (talk) 00:08, 9 November 2009 using Sibelius 5.

Mu major chord on C. Created by Hyacinth (talk) 21:52, 9 November 2009 using Sibelius 5.

G major chord, root in red.

Mu chord on E, for guitar. Created by Hyacinth (talk) 22:45, 22 December 2011 (UTC) using Sibelius 5.

Dominant eleventh without third.

Minor major sixth chord on C.

Minor chord on C

Minor ninth augmented fifth chord on C. C E G♯ B♭ D♭.

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

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

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

*Just diminished fifth on C = G♭ (Ben Johnston's notation). 36:25 = 631.28 cents. Limit: 5-limit.

*Diesis on C = D-. 128:125 = 41.06 cents. Limit: 5-limit. MIDI pitch bend: 18,77 Created by Hyacinth (talk) using Sibelius 5 with midi pitch bend on 18,77 for 41.064453 cents rather than 0.

*Lesser septimal tritone on C = G♭ (Ben Johnston's notation). 7:5 = 582.51 cents. Limit: 7-limit.

*Greater 59-limit seventh tone on C = ?. Just: 59/58 = 29.59 cents. Limit: 59-limit. MIDI pitch bend: 60,73

*Lesser 59-limit seventh tone on C = ?. Just: 60/59 = 29.10 cents. Limit: 59-limit. MIDI pitch bend: 39,73

Major triad on C in first inversion.

D-over-F-sharp slash chord.

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).