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

ii7-subV7-IM7-I6 progression. Chord quality substitution.

Diminished chord in first inversion in Bach's WTC I, Prelude in G Major.

viio7 as dominant substitute.

♯IIo7 as dominant substitute.

Four measure ii-V-I progression in C with Coltrane substitution.

Bohlen-Pierce chord: 0,1,2 (semitones), the most dissonant chord. Currently at 0, 169.75, and 310.88 cents. Title refers to number of semitones (unison=0).

Triad in Just Bohlen-Pierce tuning (0 6 10 semitones). Title refers to harmonics (fundamental=1,3,9,etc.).

Just minor chord on C: 10:12:15.

Septimal minor triad on C (C,E7b,G or 6:7:9)

C major triad, played by me

0 7 10 was judged most consonant by the untrained subjects. Title refers to number of semitones (unison=0).

Extended dominant relationship in Schubert's German Dance, D. 643, opening.

A major chord + minor 7th with following samples (listed in order):an equal tempered arpeggiothe matching equal tempered chordan arpeggio with just intonationthe matching chord with just intontation.

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.

Dream Chord on G, tuned 12:16:17:18. MIDI pitch bend appears to match intervals.

Mother chordMutterakkord

La Monte Young - Magic opening chord: E♭, E, F, A, B♭, C, D, E♭, E, F, G, A, B♭ = 2:3:7:9:21:63:567:189:567. The opening chord (left), E, F, A, B♭, D, E, G, and A, and the magic chord (right), E♭, B♭, C, E♭, F, B♭.

vi7 as tonic substitute. Created by Hyacinth (talk) 16:17, 14 July 2010 using Sibelius 5.

Bad guy/"Villian" motif/riff.

5:7:9 is the first inversion of the major triad. Title refers to harmonics (fundamental=1:3:9:etc.).

French sixth chord in Schubert's D.795, No. 5, "Am Feierabend" ("The Hour of Rest").

Bob Dylan's "Lay, Lady, Lay" verse.

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

Harmonic Chord 3:5:7:9. Traditional notation: G E B♭ D. Title refers to harmonics (fundamental=1:3:9:etc.).

Excerpt from Bach's Mass in B minor

Scriabin, Sonata Op.5 Op.53. Meas.263-264

Truck driver's gear change, modulation up a whole step, in "Because the Night".

Consonant harmonies based on the odd harmonic overtones 3/5/7/9.

Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position fourth.

Chord rewrite rules II: use of chromatic passing chords.

Created by Hyacinth (talk) 19:12, 18 January 2011 using Sibelius 5.

Augmented chord progression: I+#6 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

iv IV I V chord progression.

Augmented chord progression: I+ IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Harmonic progression from a Mozart piano sonata--sound file. Piano Sonata in G, K. 283, third movement, starting measure 247. Digital recording by Opus33 using Wavesurfer software. Transcription into chords by Opus33, loosely following Piston and DeVoto, Harmony. This music is in the public domain. The recording is not copyrighted, and it is hereby released by its creator (known in this context by the pseudonym Opus33) into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

Chord rewrite rules I: replacement or substitution of a chord by its dominant or subdominant.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

Augmented chord progression: I+64 IV6. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Montgomery-Ward bridge in C (I7-IV7-ii7-V7). Created by Hyacinth (talk) 06:58, 11 June 2010 using Sibelius 5.

Augmented chord progression: I+ IV64. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

tonale Quartfallsequenz

Audio sample which exemplifies Andalusian cadences, as shown in the article (see the picture below the Structure section). Recorded using an emulated acoustic Steinway piano through the Sound Font 2 technology, on August 9th, 2007 and released into public domain in the same day.

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

reale Quartfallsequenz

ii-V substitution.

Dominant thirteenth chord in Claude Debussy's Prelude to the Afternoon of a Faun (1894). Created by Hyacinth (talk) 02:50, 5 July 2009 using Sibelius 5.

A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.

Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).

Diatonic mediant/submediant chord progression: I vi I (submediant, in major).