993 Royalty-Free Audio Tracks for "Neapolitan Sixth Chords"

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]

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.

E5 power chord in eighth notes. Created by Hyacinth (talk) 12:48, 2 July 2009 in Sibelius 5 set on "electric guitar" triple forte.

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.

Mu chord on E, for guitar. Created by Hyacinth (talk) 22:45, 22 December 2011 (UTC) using Sibelius 5.

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 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'.

Full diatonic fifteenth chord from Listz on B

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.

Diminished seventh chord on C

Seventh augmented fifth chord on C.

Major triad on C in first inversion.

D-over-F-sharp slash chord.

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).

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".

Performer: Enrico Caruso (1873-1921) Voice: Tenor Title/Work: Scordame (Forget Me) Content: Tenor vocal solo, with orchestra Genre: Vocal music Composer: Salvatore Fucito (1875-1929) Recording date: Camden, 11 September 1919 Release date: 1917

Supermajor sixth on B7b. Created by Hyacinth (talk) 20:20, 19 March 2011 (UTC) using Sibelius 5.

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

The Carpenters chord notated in C Major. Dominant 9sus4 chord in C major: G9sus4.

Dominant thirteenth chord (V13) in F major (C E G B♭ D).

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

Ninth augmented fifth chord on C.

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.

C majorΕλληνικά: Η συγχορδία ΝΤΟ μείζονα

Dominant seventh flat five chord on C - As MIDI

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη