2,064 Royalty-Free Audio Tracks for "E Flat Chords"

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

An arpeggio.

Wind sextet in e flat, op. 71 - iv. rondo - allegro

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.

7sus4 chord on C

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.

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.

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.

Fourth of a suspended fourth chord on C

G7alt chord.

Seventh suspension four chord on C. Created by Hyacinth (talk) 20:28, 31 May 2011 (UTC) using Sibelius 5.

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 14 Fugue No. 7 in E-flat major, BWV 852

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 13 Prelude No. 7 in E-flat major, BWV 852

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 16 Fugue No. 8 in D-sharp minor, BWV 853

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 14 Fugue No. 7 in E-flat major, BWV 852

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 16 Fugue No. 8 in D-sharp minor, BWV 853

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 13 Prelude No. 7 in E-flat major, BWV 852

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

Secondary supertonic chord: ii7/V - V/V [- V] in C major (a7 - D7 [- G]). Created by Hyacinth (talk) 15:14, 18 July 2010 using Sibelius 5.

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

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Sergei Rachmaninoff - etudes tableaux, op. 39 - v. apassianato in e flat minor

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

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

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

Mu chord on G. Created by Hyacinth (talk) 00:08, 9 November 2009 using Sibelius 5.

Mu major chord on C. Created by Hyacinth (talk) 21:52, 9 November 2009 using Sibelius 5.

G major chord, root in red.

Dominant eleventh without third.

Seven six chord on C (C7/6). Created by Hyacinth (talk) 15:53, 26 June 2011 (UTC) using Sibelius 5.

Minor major sixth chord on C.

Minor chord on C

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

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

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 = ?

Major seventh chord on F.

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