1,029 Royalty-Free Audio Tracks for "Dominant Seventh Chords"

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)

Seventh suspension four chord on C. Created by Hyacinth (talk) 20:28, 31 May 2011 (UTC) using Sibelius 5.

G7alt chord.

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

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

Major seventh chord on F.

Diminished seventh chord on C

Seventh augmented fifth chord on C.

Common-tone diminished seventh chord.

Half-diminished seventh chord on 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.

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

Diminished seventh chord on B.

Harmonic seventh chord on C. Equal tempered major chord with quarter tone flat minor seventh (950 cents). Created by Hyacinth (talk) 18:56, 10 November 2011 with Sibelius 5.

Leading-tone seventh chord in C minor.

Minor seventh chord on e iii7 in C.

Minor major seventh chord on IV in C. Created by Hyacinth (talk) 11:19, 1 July 2011 (UTC) using Sibelius 5.

III+7M chord in C minor.

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

Sharpened subdominant with diminished seventh chord in C.

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

Fifteenth chord from Perry on C

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

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.

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.

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.

Full diatonic fifteenth chord from Listz on B

Chord progression with diminished seventh chords added.

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Just minor seventh chord (48:40:32:27) on C.

Just minor seventh chord on C.

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

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

Augmented major seventh chord on C

Minor major seventh chord on C.

Diminished seventh chord as incomplete ninth in C.

V of V chord progression in "Sweet Georgia Brown". V/V/V-V/V-V-I: A-D-G-C. Note that the tempo is kept but the number of measures is cut in half.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Dominant eleventh chord in four-part writing.

Shuffle pattern with staggered thirds played on piano.

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

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.

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

Beethoven Appassionata 3 final bars of Andante

Fifteenth chord from Marpurg on A: A,(C,E,)G,B',D',F',(A"). Resolves to C,E,G,C',E'.

Just harmonic seventh chord on C. Created by Hyacinth (talk) 18:59, 10 November 2011 with Sibelius 5.