1,861 Royalty-Free Audio Tracks for "Dominant Seventh Flat Five Chords"

Just major seventh chord on C (8:10:12:15).

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

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.

Viennese fourth chord.

ii-V substitution.

The secondary dominant chords of the key of C major, each given before the chord of which it is the dominant. Digital recording, made with an acoustic piano and Wavesurfer software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by Opus33 into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

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.

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

Alpha scale harmonic seventh chord on C. MIDI pitch bend matches intervals.

Neapolitan sixth in C minor.

♭III+ chord in just intonation. Pitch bend matches intervals.

Excerpt from Mendelssohn's Op. 102, No. 3, mm. 47-49. Original work is public domain, image by the uploader.

Secondary leading tone in Beethoven Sonata in C for piano Op. 53, first movement.

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

Secondary dominants in Beethoven's Op. 14 No. 2, mov. II, mm.16-19.

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

Sixth (A), in red, of a C added sixth chord. Created by Hyacinth (talk) 15:57, 4 July 2010 using Sibelius 5.

Root, in red, of a C major chord.

Jacob Hintze: Kanon In te, Domine, speravi: non confundar in aeternum (Schlussvers des Te Deum)

Minor chord on A.

An arpeggio.

Sequential modulation through the circle of fifths in Haydn, Quartet Op. 3, No. 3, IV, Hob.III:15 (now considered spurious, perhaps by Roman Hoffstetter).

Extended dominants/successive secondary dominants in Chopin's Op. 26, no. 1, mm.62-63. V/ii = V/V/V, V/vi = V/V/V/V.

Ninth (D), in red, of a C added ninth chord. Created by Hyacinth (talk) 16:46, 4 July 2010 using Sibelius 5.

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

C altered scale.

V-I progression, unaltered dominant resolving to the tonic. Created by Hyacinth (talk) 22:29, 9 July 2008 using Sibelius and Audacity.

Chord progression with a borrowed chord second to last: iv or Fm in C major.

I - ♭VII - ♭VI - ♭VII in C. Created by Hyacinth (talk) 00:31, 14 March 2010 using Sibelius 5.

Chord progression with a borrowed chord second: v or Gm in C major.

Power chords in progression create parallel fifths, though the prohibit is not relevant since there is not intention to create independent voices. Created by Hyacinth (talk) 03:21, 29 January 2012 (UTC) using Sibelius 5.

Borrowed chord common in rock music: I ♭VI IV. In C: C A♭ F.

Altered dominant played twice then resolved to the tonic. Created using Sibelius and Audacity.

MIDI rendering of first ten bars of psalm motet "Domine, ne in furore" by Josquin des Prez. See File:Josquin Domine ne in furore.pdf for source.

Melchior Franck: Da pacem, Domine, in diebus nostris, vierstimmiger Kanon, in Tonika- und Dominantlage kombiniert

Fourth of a suspended fourth chord on C

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

E5 power chord in eighth notes. Created by Hyacinth (talk) 12:48, 2 July 2009 in Sibelius 5 set on "electric guitar" triple forte.

Mu chord on G. Created by Hyacinth (talk) 00:08, 9 November 2009 using Sibelius 5.

Mu major chord on C. Created by Hyacinth (talk) 21:52, 9 November 2009 using Sibelius 5.

G major chord, root in red.

Mu chord on E, for guitar. Created by Hyacinth (talk) 22:45, 22 December 2011 (UTC) using Sibelius 5.

Minor major sixth chord on C.

Minor chord on C

Minor ninth augmented fifth chord on C. C E G♯ B♭ D♭.

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

*Greater 59-limit seventh tone on C = ?. Just: 59/58 = 29.59 cents. Limit: 59-limit. MIDI pitch bend: 60,73

*Lesser 59-limit seventh tone on C = ?. Just: 60/59 = 29.10 cents. Limit: 59-limit. MIDI pitch bend: 39,73