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

Thirteenth chord C13(sharp11). Created by Hyacinth (talk) 19:37, 4 July 2009 using Sibelius 5.

Thirteenth chord Cm13(+11). Created by Hyacinth (talk) 13:36, 7 July 2009 using Sibelius 5.

Seventh sharp nine chord on C. Created using Sibelius.

Thirteenth Polychord - Separate chords within an extended chord.

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

Example of an altered chord progression in jazz.

Ab-over-A slash chord.

Hendrix chord.

*29-limit seventh tone on C = C (Ben Johnston's notation). Just: 58/57 = 30.11 cents. Limit: 29-limit. MIDI pitch bend: 81,73

*Greater just minor seventh on C = B♭. 9/5 = 1017.60 cents. Limit: 5-limit.

*Minor seventh on C = B♭. Equal-tempered: 210/12:1 = 1000 cents. MIDI pitch bend: 0,64

F majorΕλληνικά: Η συγχορδία ΦΑ μείζονα

Pandiatonic chord with nonharmonic bass in Igor Stravinsky's Symphony of Psalms, 3rd movement.

Eleventh chord diatonic on C.

Dominant eleventh chord on C, C11, with third. V11 in F major. Created by Hyacinth (talk) using Sibelius 5.

Created by Hyacinth (talk) using Sibelius.

Lydian chord on C.

Young temperament major chord on C. Created by Hyacinth (talk) 17:25, 15 December 2009 using Sibelius 5

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

Fifteenth chord from Schoenberg on C

Ninth vs added-ninth chord.

Violoncello chord on C. Created by Hyacinth (talk) 09:16, 12 June 2010 using Sibelius 5.

A thirteenth chord "collapsed" into one octave results in a dissonant, seemingly secundal[1] tone cluster. Created by Hyacinth (talk) 22:18, 5 July 2009 using Sibelius 5.

Violoncello chord on D.

Bridge chord, named after en:Frank Bridge. Minor chord with a major chord a whole tone above. Chord pictured followed by arpeggio with D major at the octave.

D♭7♯11 chord = G7alt chord. G7alt chord = G,B,F,Ab,A#,C#,Eb. D♭7♯11 chord = D,F,Cb,Eb,G.

Bitonal polychord: F major on top of C major. Created by Hyacinth (talk) 01:48, 7 July 2009 using Sibelius 5.

*Subminor seventh on C = B. Equal-tempered: 219/24:1 = 950 cents. MIDI pitch bend: 0,80 Preceded by:File:Seventeen quarter tones on C.mid

*Tridecimal neutral seventh on C = B♭-. Just: 13:7 = 1071.70 cents. Limit: 13-limit. MIDI pitch bend: 120,86

*Supermajor seventh on C = B/C. Equal-tempered: 223/24:1 = 1150 cents. MIDI pitch bend: 0,80 Preceded by:

Diminished triad on C , as MIDI.

C triad with doubling. Created by Hyacinth (talk) 23:44, 5 November 2011 (UTC) using Sibelius 5.

Diminished triad on B, as MIDI

Three beta chords on C♯. C♯, E, G, B♭, C♮; C♯, E, G, C♮; and C♯, G, C♮.

Sound of an alpha chord on C# Klang eines Alpha-Akkords auf Cis

Elektra chord implies an E Major and C# Major chord together (C# E# G# = Db F Ab)

Power chord on E. Created by Hyacinth (talk) 14:21, 27 July 2008 using Sibelius 5.

Alternate augmented ninth chord on C.

German sixth with 6/4 resolution, generated on Sibelius.

Picardy third in Bach - BWV 81.7, mm. 12-13. Created by Hyacinth (talk) 00:21, 13 July 2011 (UTC) using Sibelius 5.

*Septimal supermajor seventh on C = C. Just: 35 : 18 = 1151.23 cents. Limit: 7-limit. MIDI pitch bend: 50,80 on M7

*Lesser just minor seventh on C = B♭- (Ben Johnston's notation). 16/9 = 996.09 cents. Limit: 3-limit. MIDI pitch bend: 96,62

D♭7♯11 chord = G7alt chord.

Dominant thirteenth chord in four-part writing.

Dominant thirteenth: four-voice version.

Slonimsky's Pyramid chord. A G# F# D# B F# C♮ F♮ A C D♮ Eb = 0 e 9 6 2 9 3 8 0 3 5 6.

Viennese fourth chord.

Major triad on C. Created using Sibelius.

Neapolitan sixth in C minor.

Thirteenth chord CMA13(sharp11).