77 Royalty-Free Audio Tracks for "Dominant Chords"

Dominant eleventh without third.

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

Dominant ninth chord on C.

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

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

Dominant seventh chord (V7) in C, G7.

7th dominant chord played on flute.

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

Dominant seventh flat five chord on C - As MIDI

Dominant seventh flat nine chord on C - As MIDI

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

Dominant eleventh chord in four-part writing.

Augmented dominant seventh chord on C

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.

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

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

Dominant thirteenth chord in four-part writing.

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

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

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

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

Dominant thirteenth: four-voice version.

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

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

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

Seventh of a dominant seventh chord in C. Created by Hyacinth (talk) 22:57, 13 May 2010 using Sibelius 5.

Dominant seventh chord on G: G B D F. In root position, 1st inversion, 2nd inversion, and third inversion, then at the octave in root position.

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

Chords with a primary or secondary dominant function.

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.

Dominant seventh tritone resolution chords, As MIDI

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

German sixth equals dominant seventh

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

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

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

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

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

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

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

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

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

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.

Dominant seventh in C in first inversion

Voice leading for dominant eleventh chords in the common practice period. Created by Hyacinth (talk) 23:16, 6 July 2009 using Sibelius 5.