1,004 Royalty-Free Audio Tracks for "Seventh Chords"

Fifteenth chord from Perry on C

Leading-tone seventh chord in C major.

Half-diminished seventh chord on sharpened supertonic in C.

Half-diminished seventh chord on sharpened subdominant in C.

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

Chord progression with diminished seventh chords added, without chords added yet.

Augmented dominant seventh chord on C

Full diatonic fifteenth chord from Listz on B

Chord progression with diminished seventh chords added.

Just minor seventh chord on C.

Just minor seventh chord (48:40:32:27) on C.

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.

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.

Augmented major seventh chord on C

Minor major seventh chord on C.

Diminished seventh chord as incomplete ninth in C.

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

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

John Stepan Zamecnik's 1913 composition Mysterioso - Burglar Music 1, which appeared in Sam Fox Moving Picture Music volume 1.

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.

German sixth equals dominant seventh

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 Mozart's K. 283 III, mm. 64-69.

Shuffle pattern with staggered thirds played on piano.

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

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

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.

Beethoven Appassionata 3 final bars of Andante

Just major seventh chord on C (8:10:12:15).

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

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

Diminished seventh chord's use in modulation.

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

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.

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.

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

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

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

Dominant eleventh on F in fifth inversion: B♭CE♭FGA. V11 resolves to I.

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

Dominant thirteenth on F in sixth inversion: DE♭FGAB♭C. V13 resolves to I6.

Root, in red, of a C major chord.

Sixth (A), in red, of a C added sixth chord. Created by Hyacinth (talk) 15:57, 4 July 2010 using Sibelius 5.

Minor chord on A.

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

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

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

Dominant seventh raised ninth vs dominant seventh split third chord.

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 = ?