44 Royalty-Free Audio Tracks for "Ninth Chords"

Ninth vs added-ninth chord.

Ninth chord on C: CEGBD.

Dominant ninth chord on C.

Ninth augmented fifth chord on C.

Maj ninth chord on C.

Ninth (D), in red, of a C added ninth chord. Created by Hyacinth (talk) 16:46, 4 July 2010 using Sibelius 5.

Alternate augmented ninth chord on C.

Diminished seventh chord as incomplete ninth in C.

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

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

Dominant raised ninth flat five chord on C. C E Gb Bb D#.

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

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

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

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

Ninth flat five chord on C. Created by Hyacinth (talk) 12:26, 29 May 2011 (UTC) using Sibelius 5.

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

Dominant seventh raised ninth vs dominant seventh split third chord.

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

Dominant seventh flat nine chord on C - As MIDI

Seventh sharp nine chord on C. Created using Sibelius.

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).

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).

Thirteenth chord with flat ninth. Created by Hyacinth (talk) 13:36, 7 July 2009 using Sibelius 5.

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

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar.

Dominant seventh flat nine chord on C. Created by Hyacinth (talk) 17:06, 10 July 2008 using Sibelius.

Dominant 9th chord from "Hommage a Rameau" by Claude Debussy.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Created by Hyacinth (talk) using Sibelius 5.

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

Dominant thirteenth: four-voice version. "This disposition is typical." Created by Hyacinth (talk) 18:33, 30 May 2011 (UTC) using Sibelius 5.

A Hard Day's Night opening chord: F9. Created by Hyacinth (talk) 03:11, 14 September 2012 (UTC) using Sibelius 5.

Fifteenth chord from Perry on C

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar. Created by Hyacinth (talk) 14:10, 7 July 2009 using Sibelius 5.

Full diatonic fifteenth chord from Listz on B

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

A simple, pleasant notification sound.

Cesar Franck Violin Sonata in A major, opeing bars

Chopin Waltz in D flat, Op. 64, No. 1

A simple, pleasant notification sound with a small amount of pre-delay.

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.