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

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

Eb major triad, MIDI file

Minor seventh chord on e iii7 in C.

Supertonic diminished seventh chord in C (D♯=E♭).

III+7M chord in C minor.

Power chord on E. Created by Hyacinth (talk) 14:21, 27 July 2008 using Sibelius 5.

Elektra chord implies an E Major and C# Major chord together (C# E# G# = Db F Ab)

Viennese fourth chord.

The chord of E major played on an acoustic guitar. El acorde de E major toca en una guitarra acoustica.

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

Fifteenth chord from Perry on C

La Monte Young's magic chord. Tuned from E = 1/1.Gann, Kyle (1997). "La Monte Young's The Well-Tuned Piano", La Monte Young Web Page.

5 7 9 chord on E, eight steps in the octave. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include eight steps in the octave, based on 5:7:9 and of which only the just version would be used. Traditional notation: E B♭ D.

Full diatonic fifteenth chord from Listz on B

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

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.

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.

C-A-F-F-E-E, dreistimmiger Kanon von C. G. Hering

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.

viio/V - V - I chord progression. Common in ragtime.

Minor chord on A.

viio7 in G major, on the guitar.

Augmented chord progression: I+65 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified].

Altered major chord on B with diminished seventh (B, D♯, F♯, A♭), equivalent to a minor-minor seventh chord on G♯ (G♯, B, D♯, F♯) Alterierter Akkord mit verminderter Sept Esperanto: Ekzemplo por malsupren aliigita septo

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.

Fifteenth chord from Marpurg on A: A,(C,E,)G,B',D',F',(A"). Resolves to C,E,G,C',E'.

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

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.

Minor seventh chord on d (ii7) in C. Created by Hyacinth (talk) 07:23, 14 August 2011 (UTC) using Sibelius 5.

Half-diminished seventh chord on supertonic in C minor.

Minor seventh chord on a vi7 in C. Created by Hyacinth (talk) 07:25, 14 August 2011 (UTC) using Sibelius 5.

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

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

7sus4 chord on C

Dominant thirteenth chord (V13) in F major (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 = ?

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.

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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.

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.

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).

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

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).