3,829 Royalty-Free Audio Tracks for "Major Chords"

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).

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).

Minor triad on A in first inversion. Created by Hyacinth (talk) 18:56, 23 November 2010 using Sibelius 5.

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).

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).

Chord progression with diminished seventh chords added.

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

Minor eleventh chord in Herbie Hancock's "Maiden Voyage".

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.

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

Half-diminished seventh chord on C

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

Tritone substitution and altered chord as, "nearly identical". Chords: C7, F♯7, and C7 +9 +5: Root 3rd 5th 7th 9th 11th 13th C

Minor 6/9 chord on C. Created by Hyacinth (talk) 09:57, 11 December 2011 (UTC) using Sibelius 5.

Minor ninth chord on C. Created by Hyacinth (talk) 08:44, 29 May 2011 (UTC) using Sibelius 5.

Ninth augmented fifth chord on C.

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

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.

C augmentedΕλληνικά: Η συγχορδία ΝΤΟ αυξημένη

Chords with a primary or secondary dominant function.

En I-ii7-V7-I-progression, sedan samma med V7 tritonussubstituerad.

Dominant seventh flat five chord on C - As MIDI

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη

Maj ninth chord on C.

Suspended 4th Chord on C.

Suspended fourth chord on C in first inversion.

Seventh flat thirteenth chord on C. Created by Hyacinth (talk) 17:05, 10 July 2008 using Sibelius.

Suspended 2nd Chord on C.

Mu chord on C. Created by Hyacinth (talk) 22:54, 3 June 2009 using Sibelius 5.

a kind of chord

In a triadic context chords with omitted thirds may be considered "indeterminate" triads.

Leading-tone seventh chord in C minor.

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

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

Dominant seventh flat nine chord on C - As MIDI

Minor seventh chord on e iii7 in C.

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

Sharpened subdominant with diminished seventh chord in C.

III+7M chord in C minor.

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

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.

Dominant seventh raised ninth vs dominant seventh split third chord.

Common-tone diminished seventh chord.

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

Add6 chord on C

Half-diminished seventh chord on sharpened supertonic in C.

Half-diminished seventh chord on sharpened subdominant in C.

Secondary chords in Maria Wolowska Szymanowska's Nocturne in B-flat Major, mm.1-5.

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

Dominant seventh chord (V7) in C, G7.