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

Major triad on C in first inversion.

D-over-F-sharp slash chord.

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Minor triad on A in first inversion. Created by Hyacinth (talk) 18:56, 23 November 2010 using Sibelius 5.

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Minor eleventh chord in Herbie Hancock's "Maiden Voyage".

The Carpenters chord notated in C Major. Dominant 9sus4 chord in C major: G9sus4.

[Dominant] eleventh chord in F, on C (C11). "As it appears in actual music": C, —, G, B, D, F.

Tritone substitution and altered chord as, "nearly identical". Chords: C7, F♯7, and C7 +9 +5: Root 3rd 5th 7th 9th 11th 13th C

Minor 6/9 chord on C. Created by Hyacinth (talk) 09:57, 11 December 2011 (UTC) using Sibelius 5.

Minor ninth chord on C. Created by Hyacinth (talk) 08:44, 29 May 2011 (UTC) using Sibelius 5.

Ninth augmented fifth chord on C.

C augmentedΕλληνικά: Η συγχορδία ΝΤΟ αυξημένη

En I-ii7-V7-I-progression, sedan samma med V7 tritonussubstituerad.

C majorΕλληνικά: Η συγχορδία ΝΤΟ μείζονα

Suspended 2nd Chord on C.

Suspended 4th Chord on C.

Suspended fourth chord on C in first inversion.

Seventh flat thirteenth chord on C. Created by Hyacinth (talk) 17:05, 10 July 2008 using Sibelius.

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη

Maj ninth chord on C.

Mu chord on C. Created by Hyacinth (talk) 22:54, 3 June 2009 using Sibelius 5.

a kind of chord

In a triadic context chords with omitted thirds may be considered "indeterminate" triads.

Lydian augmented polychord on C: 04689e = C,E,F#,G#,A,B.

Dominant seventh raised ninth vs dominant seventh split third chord.

Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone

Add6 chord on C

Bekehre uns, vergib die Sünde; Gotteslob (1975) 160; Gotteslob (2013) 266

D chord in all fourths tuning.

An arpeggiated chord. Created by SreeBot (talk) using Sibelius 5. GFDL-self

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar. Created by Hyacinth (talk) 14:10, 7 July 2009 using Sibelius 5.

Dominant thirteenth: four-voice version. "This disposition is typical." Created by Hyacinth (talk) 18:33, 30 May 2011 (UTC) using Sibelius 5.

Thirteenth chord CMI7(add13). Created by Hyacinth (talk) 18:56, 4 July 2009 using Sibelius 5.

Tonic thirteenth chord on F. Created by Hyacinth (talk) 22:14, 1 July 2009 using Sibelius 5.

Seventh augmented eleventh chord on C.

Thirteenth chord C13(b9). Created by Hyacinth (talk) 19:39, 4 July 2009 using Sibelius 5.

Thirteenth chord C13. Created by Hyacinth (talk) 18:56, 4 July 2009 using Sibelius 5.

Ninth flat five chord on C. Created by Hyacinth (talk) 12:26, 29 May 2011 (UTC) using Sibelius 5.

Thirteenth chord based on minor triad. Created by Hyacinth (talk) 13:43, 7 July 2009 using Sibelius 5.

Minor eleventh chord on C. Created by Hyacinth (talk) 15:25, 27 July 2008 in Sibelius.

Thirteenth chord with flat ninth. Created by Hyacinth (talk) 13:36, 7 July 2009 using Sibelius 5.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Created by Hyacinth (talk) using Sibelius 5.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar.

Thirteenth chord CMA13. Created by Hyacinth (talk) 18:55, 4 July 2009 using Sibelius 5.

Dominant seventh flat nine chord on C. Created by Hyacinth (talk) 17:06, 10 July 2008 using Sibelius.

Thirteenth chord CMI13. Created by Hyacinth (talk) 19:35, 4 July 2009 using Sibelius 5.