168 Royalty-Free Audio Tracks for "Diminished Sevenths"

viio7 in G major, on the guitar.

Just diminished seventh in just C scale: B and A♭.

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

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

*6859rd harmonic on C = B. Just: 4/12 = 892.54 cents. Limit: 19-limit. MIDI pitch bend: 78,61

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

*Pythagorean diminished seventh on C = B--- (Ben Johnston's notation). 32768:19683 = 882.40 cents. Limit: 3-limit.

*Just diminished seventh on C = B- (Ben Johnston's notation). 128:75 = 925.42 cents. Limit: 5-limit. MIDI pitch bend: 17,72

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.

Created in Sibelius. Major sixth (Diminished seventh) on C = A (B). Equal-tempered: 29/12:1 = 900 cents. MIDI pitch bend: 0,64

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

Common-tone diminished seventh chord.

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

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.

Diminished triad on C , as MIDI.

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.

Diminished seventh chord as incomplete ninth in C.

Chord progression with diminished seventh chords added.

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

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

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη

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

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.

Iidim6 chord in C.

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