195 Royalty-Free Audio Tracks for "Midi Files Of Musical Chords"

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.

Augmented triad on C, As MIDI

C triad open position.

Created using Sibelius.

Fifteenth chord from Perry on C

Minor triad on C

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

Bitonal polychord: F major on top of C major. Created by Hyacinth (talk) 01:48, 7 July 2009 using Sibelius 5.

Major triad on C. Created using Sibelius.

Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position fourth.

Mother chordMutterakkord

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.

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

Augmented triad on D.

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.

Motherchord (Mutterakkord), pyramidal (symetrical) chord. A G# E C# B F# C♮ F♮ G Bb D Eb = 0 e 7 4 2 9 3 8 t 1 5 6.

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

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

Alpha scale major triad on C. MIDI pitch bend matches intervals.

Shuffle pattern with staggered thirds played on piano.

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C♮ to C♯ between the second and third chords. Note that there is no common chord.

Major triad on F in second inversion

Major triad on F in first inversion

Major triad on C in second inversion.

Secondary dominants in Beethoven's Symphony No. 1, introduction.

Augmented dominant seventh raised ninth on C. C E G♯ B♭ D♯.

C triad with doubling. Created by Hyacinth (talk) 23:44, 5 November 2011 (UTC) using Sibelius 5.

Bad guy/"Villian" motif/riff.

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

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C to C between the second and third chords. Note that there is no common chord.

Major triad on F in root position. Created by Hyacinth (talk) using Sibelius 5.

Schubert - op.9 D.365, mm.17-24. Modulation using German sixth in new key, enharmonic to dominant seventh in old key.

Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone

0 7 10 was judged most consonant by the untrained subjects. Title refers to number of semitones (unison=0).

English: Chopin Prelude, Op. 20, No. 10 (1832) opening. Consecutive diminished seventh chords as whole tone scale harmony. Piston analyses viio as Vo9 with a missing root.

Tritone substitution. F♯7 may substitute for C7, and vice versa, because they both share E♮ and B♭/A♯ and due to voice leading considerations.

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 = ?

Prometheus scale on C.

Rule of the octave, major scale.

Truck driver's gear change, modulation up a whole step, in "Because the Night".

Chord progression of La Folia theme, a common harmonic pattern in baroque music. After chord notation provided by User:Hyacinth at en:File:Later Folia.png. Self-made with Lilypond

Multi-octave F major chord with octaves marked by brackets. Created by Hyacinth (talk) 07:47, 3 January 2012 (UTC) using Sibelius 5.

Chopin's Prelude in C minor modulates within the first three measures.

Schubert - op. 29, D.804, I, mm.144-49. Enharmonic modulation using a common viio7, enharmonic in two keys.

13-limit just decatonic scale on C; 1/1, 12/11, 32/27, 9/7, 4/3, 132/91, 3/2, 18/11, 16/9, 176/91, and 2/1; followed by the tonic chord: C, E, G.