141 Royalty-Free Audio Tracks for "Diminished Fifths"

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

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

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

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

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

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

*Just tritone on C = G♭- (Ben Johnston's notation). 64/45 = 609.78 cents. Limit: 5-limit. MIDI pitch bend: 16,67

*Three-hundred-forty-third harmonic on C = G♭+. Just: 343:256 = 506.48 cents. Limit: 7-limit. MIDI pitch bend: 9,66

*Bohlen-Pierce scale: interval between C and F, lesser septimal tritone on C = F. Just: 7/5 = 582.51 cents. Limit: 7-limit. MIDI pitch bend: 52,58

*Ninety-first harmonic on C = G♭ (Ben Johnston's notation). Just: 91/64 = 609.35 cents. Equal-tempered: 26/12:1 = 600 cents. Limit: 13-limit. MIDI pitch bend: 127,66

*24389th harmonic on C = G♭+. Just: 4/12 = 688.73 cents. Limit: 29-limit. MIDI pitch bend: 50,92 on TT

Diminished triad on C , as MIDI.

viio7 in G major, on the guitar.

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)

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

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

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

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη

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

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.

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

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

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.

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

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

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

Common-tone diminished seventh chord.

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

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.

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

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

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.

Half-diminished seventh chord on supertonic in C minor.

Sharpened subdominant with diminished seventh chord in C.

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.

Parallel fifths from German sixth resolution in Mozart - Symphony K.453.

A mean fifth (sine waves of 300 Hz and 448.6Hz) followed by a wolf fifth (300 Hz and 459.37Hz); intervals occur in quarter-comma meantone temperament.