119 Royalty-Free Audio Tracks for "Dominant"

Dominant form chord: Dominant flat ninth chord preceding tonic chord and possessing a primary dominant function.

Dominant form chord: Dominant ninth chord preceding tonic chord and possessing a primary dominant function.

Chords with a primary or secondary dominant function.

Dominant seventh tritone resolution chords, As MIDI

7th dominant chord played on flute.

Dominant ninth chord on C.

Dominant eleventh without third.

Dominant seventh in C in first inversion

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

Dominant seventh raised ninth vs dominant seventh split third chord.

Dominant seventh with root doubled and missing fifth resolving to I, in C.

Dominant seventh chord (V7) in C, G7.

Dominant seventh chord on C, played on guitar in open position.

Dominant seventh chord on C, played on guitar, barre chord.

Dominant seventh flat five chord on C - As MIDI

Dominant and dominant parallel in C minor: Gm and BM chords.

Dominant and dominant parallel in C major: GM and Em chords.

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

Simple e-phrygian dominant scalar run. Dripping wet.

Dominant seventh in Beethoven's Fifth Symphony, last movement.

Dominant seventh flat nine chord on C - As MIDI

German sixth equals dominant seventh

Dominant thirteenth chord (V13) in F major (C E G B♭ D).

Dominant 9th chord from "Hommage a Rameau" by Claude Debussy.

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

♯IIo7 as dominant substitute.

Lydian dominant scale on C.

Viennese trichord as dominant. Created by Hyacinth (talk) 21:31, 4 July 2010 using Sibelius 5.

Dominant seventh in Monteverdi's "Lasciatemi Morire" ("Oh, Let Me Die"), Lamento_d'Arianna. Created by Hyacinth (talk) 09:44, 12 January 2012 (UTC) using Sibelius 5.

Dominant eleventh chord in four-part writing.

Subtonic as secondary dominant to the mediant in minor from Brahms Op.76.7, Eight Pieces, for piano (1878).

Dominant eleventh on F in fifth inversion: B♭CE♭FGA. V11 resolves to I.

Dominant thirteenth on F in sixth inversion: DE♭FGAB♭C. V13 resolves to I6.

Dominant raised ninth flat five chord on C. C E Gb Bb D#.

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

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

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

4-27A (dominant seventh chord) tetrachord on C

Tonic and dominant in C. C major and G major chords.

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

C Phrygian dominant scale. Created by Hyacinth (talk) 00:37, 5 July 2010 using Sibelius 5.

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

Augmented dominant seventh chord on C

Dominant thirteenth: four-voice version.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

Dominant thirteenth chord in four-part writing.

A dominant thirteenth in F minor. Created by Hyacinth (talk) using Sibelius 5.

Dominant minor ninth chord on C: C,E,G,Bb,Db. Created by Hyacinth (talk) 23:07, 14 December 2011 (UTC) using Sibelius 5.

Beta scale dominant seventh chord on C. Created by Hyacinth (talk) 07:35, 12 April 2011 (UTC) using Sibelius 5 with midi pitch bend. Pitch bend appears to match intervals.