125 Royalty-Free Audio Tracks for "Seventh Chords"

Full diatonic fifteenth chord from Listz on B

viio7 as dominant substitute.

Just harmonic seventh chord on C. Created by Hyacinth (talk) 18:59, 10 November 2011 with Sibelius 5.

4-28 (diminished seventh chord) tetrachord on C

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.

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

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.

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

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

Alpha scale harmonic seventh chord on C. MIDI pitch bend matches intervals.

Altered major chord on B with diminished seventh (B, D♯, F♯, A♭), equivalent to a minor-minor seventh chord on G♯ (G♯, B, D♯, F♯) Alterierter Akkord mit verminderter Sept Esperanto: Ekzemplo por malsupren aliigita septo

Dominant seventh with root doubled and missing fifth resolving to I, in C.

Diminished seventh chord's use in modulation.

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

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

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

4-26 (minor seventh chord) tetrachord on C

4-24 (aug. seventh chord) tetrachord on C

4-20 (major seventh chord) tetrachord on C

4-27A (dominant seventh chord) tetrachord on C

Maple Leaf Rag seventh chord resolution. Created by Hyacinth (talk) using Sibelius 5.

viio7 in G major, on the guitar.

III+7M chord in C minor.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Major seventh sharp eleventh chord on C. Created by Hyacinth (talk) 17:56, 4 July 2011 (UTC) using Sibelius 5.

viio/V - V - I chord progression. Common in ragtime.

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.

Leading-tone half-diminished seventh chord as dominant in Mozart, Piano Sonata in D Major, III (end of Variation V), K. 284, mm.14-17.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

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.

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

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

Dominant seventh in Monteverdi's "Lasciatemi Morire" ("Oh, Let Me Die"), Lamento_d'Arianna. Created by Hyacinth (talk) 09:44, 12 January 2012 (UTC) using Sibelius 5.

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

Seven six chord on C (C7/6). Created by Hyacinth (talk) 15:53, 26 June 2011 (UTC) using Sibelius 5.

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

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

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

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

Diagonal barre chord: major seventh chord on G. The first finger fingers both the second fret on the first four strings and the third fret on the sixth string.

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

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

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

Some piano recordings with door noises in the background. First chord is an f major 7th and then it goes down to a d minor seventh or something. Not sure.

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

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

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.