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

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.

D♭7♯11 chord = G7alt chord. G7alt chord = G,B,F,Ab,A#,C#,Eb. D♭7♯11 chord = D,F,Cb,Eb,G.

VII-I cadence in C major. Created by Hyacinth (talk) 14:28, 10 March 2011 (UTC) using Sibelius 5. GFDL-self

Root position triads from C major scale.

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.

Tonic and dominant in C. C major and G major chords.

Diminished triad on C , as MIDI.

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

Diminished triad on B, as MIDI

Three beta chords on C♯. C♯, E, G, B♭, C♮; C♯, E, G, C♮; and C♯, G, C♮.

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

Sound of an alpha chord on C# Klang eines Alpha-Akkords auf Cis

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

Alternate augmented ninth chord on C.

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

German sixth with 6/4 resolution, generated on Sibelius.

D♭7♯11 chord = G7alt chord.

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Dominant thirteenth chord in four-part writing.

Dominant thirteenth: four-voice version.

Slonimsky's Pyramid chord. A G# F# D# B F# C♮ F♮ A C D♮ Eb = 0 e 9 6 2 9 3 8 0 3 5 6.

Just minor seventh chord (48:40:32:27) on C.

Just minor seventh chord on C.

Viennese fourth chord.

Neapolitan sixth in C minor.

Thirteenth chord CMA13(sharp11).

Generating chord for Michael Torke's Vanada (1984).

Dominant seventh in C in first inversion

Elektra chord: E B Db F Ab.

Farben chord.

Augmented triad on C, As MIDI

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.

Complexe sonore: the octatonic scale may be arranged as four major chords or seventh chords. Created by Hyacinth (talk) 13:49, 13 June 2010 using Sibelius 5.

Dominant and dominant parallel in C major: GM and Em chords.

Voice leading for dominant eleventh chords in the common practice period. Created by Hyacinth (talk) 23:16, 6 July 2009 using Sibelius 5.

DSp in C major.

Major second on D.

Bridge chord, named after en:Frank Bridge. Major chord with a minor chord a semitone above. Chord pictured followed by arpeggio with Db minor at the octave.

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

C triad open position.

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

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

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

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

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

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

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