40 Royalty-Free Audio Tracks for "Dominant Seventh Chords"

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

Dominant seventh chord (V7) in C, G7.

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

Augmented dominant seventh chord on C

Dominant seventh raised ninth vs dominant seventh split third chord.

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

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

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

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

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

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

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.

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

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

Dominant seventh tritone resolution chords, As MIDI

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

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

German sixth equals dominant seventh

Dominant seventh in C in first inversion

Dominant seventh with root doubled and missing fifth resolving to I, in C.

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

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 seventh in Monteverdi's "Lasciatemi Morire" ("Oh, Let Me Die"), Lamento_d'Arianna. Created by Hyacinth (talk) 09:44, 12 January 2012 (UTC) using Sibelius 5.

Augmented dominant seventh raised ninth on C. C E G♯ B♭ D♯.

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

VI7 in C minor. Created by Hyacinth (talk) 15:26, 2 July 2011 (UTC) using Sibelius 5.

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

V43 for comparison with viio6 as a substitute for V43 in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

Secondary dominant with barbershop seventh chords. V/V - V - I in F major (G7-C7-F). Derived from [1]. In just intonation. Sevenths are harmonic sevenths, and the F in the first measure is 27.26 cents lower than the F in the third measure. Pitch bend matches intervals.

Schubert - op.9 D.365, mm.17-24. Modulation using German sixth in new key, enharmonic to dominant seventh in old key.

4-27A (dominant seventh chord) tetrachord on C

viio7 as dominant substitute.

Created by divkid for use in the make noise soundhack morphagene. There are dry-only, fx-only, and mix versions of this reel in the pack. See it in action at https://youtu. Be/rk4ufmfcouc. Patch walkthrough. The patch starts with the qu-bit chance providing discrete random values (sample and hold) going into an instruo harmonaig. This takes the stepped random voltages and quantizing them to a given scale. I put in the notes c d eb f g ab bb which is a c natural minor scale, the relative minor of eb major (for anyone that's curious). However like most of my modular work i didn't actually tune the oscillators to anything specific. So treat the scale as a pattern of intervals not a set of specific notes. The quantized notes then form 4 voice chords giving us a root, third, fifth and seventh cv output that will be diatonic following the scale pattern, meaning the third will be major or minor, the seventh major, minor or dominant and the fifth natural or diminshed to suit the scale. With the 4 quantized outputs on the harmonaig these all go into the four oscillators on the synthesis technology e370 quad morphing vco. Each of the e370 oscillators are in the basic morph xy mode using the built in rom b set of wavetables. Wavetables are modulating by various mixes of the befaco rampage, mutable instruments tides, wmd multimode envelopes and music thing modular turing machine. The modulation sources are mixed and split with multiples and mixers. These modulating wavetables then go into a bubblesound vca4p where i'm using 4 mk1 intellijel dixie oscillators all un-synced and free running with sine wave lfos. Each lfo freely fades the voice in and out of the vca4p. As this is unsynced there's no regard to pitch changes linked to changes in amplitude and the swells. I find splitting the gate/rhythm from pitch regarding sequencing to be a freeing and interesting way to work that's not available on traditional instruments. This is just a simple application of that idea with the lfos fading freely unrelated to the other modulation or sequencing of pitch. The sound then goes from the vca4p mix out into a befaco mixer and praxis snake charmer which the output section of the larger case and i'm sending a 'pre' auxiliary out into my fx case. The dry sound first goes into the erica synths fusion delay / flanger vintage ensemble which is giving me short modulated delays giving vibrato like sounds and pushing the input level and overdrive gives us some warmth and grit that thickens up the sound and also fills in the gaps left by the free running lfos pulling quieter sounds and compressing in the on board tube. This then outputs to the feedback 1 bit multitap delay module which has it's delay chip pushed to longer times for some added crackle and noise. I'm using the two delay taps for a shorter and longer delay with little feedback to mix the dry sound for a generally noisier and smeared version of the input. This then goes into the xaoc devices kamieniec with it's on board lfo as slow as possibly for a mildly resonant phase shifting. This goes into mutable instruments clouds set to sew random grains slowly and randomly which are pitch shifted up 2 octaves to fill out some high end flourishes against the closed chord voicings at the core of the patch. Finally this goes into a long lush reverb from the halls of valhalla card in the tiptop audio z-dsp. The stereo fx chain and the mono dry signal are mixed in the befaco hexmix and recorded as a mixed stereo file. I'd consider this to be the main 'reel'. However i split the dry signal and the fx only wet stereo signal and recorded those at the same time so you can choose which reel to use and experiment with dry/wet or blended sounds from this patch.