1,531 Royalty-Free Audio Tracks for "E Chords"

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

Thirteenth chord C13b9. Bass note: C or alternatively G. Created by Hyacinth (talk) 01:33, 6 July 2009 using Sibelius 5.

Thirteenth chord CMA7(add13). Created by Hyacinth (talk) 18:55, 4 July 2009 using Sibelius 5.

Ninth chord on C: CEGBD.

Major seventh sharp eleventh chord on C. Created by Hyacinth (talk) 17:56, 4 July 2011 (UTC) using Sibelius 5.

Thirteenth chord C13sus. Created by Hyacinth (talk) 19:35, 4 July 2009 using Sibelius 5.

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.

Example of an altered chord progression in jazz.

Ab-over-A slash chord.

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).

Hendrix chord.

Dominant seventh tritone resolution chords, As MIDI

F majorΕλληνικά: Η συγχορδία ΦΑ μείζονα

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

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

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.

Nokturn e-moll op. posth. 72 nr 1Nocturne in E minor, Op. posth. 72 no. 1

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.

Augmented major seventh chord on C

Minor major seventh chord on C.

Diminished seventh chord as incomplete ninth in C.

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.

Common-tone diminished seventh chord in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

Chord progression with diminished seventh chords added, without chords added yet.

Diminished seventh chord on B.

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.

Harmonic seventh chord on C. Equal tempered major chord with quarter tone flat minor seventh (950 cents). Created by Hyacinth (talk) 18:56, 10 November 2011 with Sibelius 5.

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.

Common-tone diminished seventh chord (♯vio42, in D major: b♯o7) in Tchaikovsky's Nutcracker Suite, op. 71a, III, Valse des Fleurs, mm.1-4.

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

Nocturne Op. posth. 72 in E Minor

Nokturn Es-dur op. 55 nr 2Nocturne in E flat major, Op. 55 no. 2

Ascending and descending scale played in E major

Sorud-e Mellí-e Yomhurí-e Eslamí-e Irán (Instrumental) - AFIRI Band

Nocturne no. 2 in e flat major, op. 55

Suggestion of bitonality in Beethoven's Sonata in E♭ for Piano, Op. 8la.

C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.