125 Royalty-Free Audio Tracks for "Seventh Chords"

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.

III+7M chord in C minor.

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.

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

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

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.

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.

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

Dominant seventh tritone resolution chords, As MIDI

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

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.

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.

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

viio7 in G major, on the guitar.

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

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

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.

German sixth equals dominant seventh

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

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

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

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

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

Dominant seventh in C in first inversion

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

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

Diminished seventh chord's use in modulation.

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+75 I. 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]

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

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

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.

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

A major chord + minor 7th with following samples (listed in order):an equal tempered arpeggiothe matching equal tempered chordan arpeggio with just intonationthe matching chord with just intontation.

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.

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.

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.

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

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.

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).

V43 for comparison with viio6 as a substitute for V43 in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.