37 Royalty-Free Audio Tracks for "Seventh Tones"

*Greater 59-limit seventh tone on C = ?. Just: 59/58 = 29.59 cents. Limit: 59-limit. MIDI pitch bend: 60,73

*Lesser 59-limit seventh tone on C = ?. Just: 60/59 = 29.10 cents. Limit: 59-limit. MIDI pitch bend: 39,73

*29-limit seventh tone on C = C (Ben Johnston's notation). Just: 58/57 = 30.11 cents. Limit: 29-limit. MIDI pitch bend: 81,73

*19-limit seventh tone on C = C (Ben Johnston's notation). Just: 57/56 = 30.64 cents. Limit: 19-limit. MIDI pitch bend: 103,73

*Subminor seventh on C = B. Equal-tempered: 219/24:1 = 950 cents. MIDI pitch bend: 0,80 Preceded by:File:Seventeen quarter tones on C.mid

Common-tone diminished seventh chord.

Leading-tone seventh chord in C minor.

Leading-tone seventh chord in C major.

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

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

Diminished seventh chord on B.

Diminished seventh chord to dominant cadence (bo-e7-A7-D).

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

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

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

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 raised ninth vs dominant seventh split third chord.

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.

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

Chord progression with diminished seventh chords added.

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.

Harmonic seventh chord on C. Equal tempered major chord with quarter tone flat minor seventh (950 cents). Created by Hyacinth (talk) 18:56, 10 November 2011 with Sibelius 5.

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

*Undecimal neutral seventh on C = B↑♭- (Ben Johnston's notation). 11:6 = 1049.36 cents. Limit: 11-limit.

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.

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

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving. (fo7 to G-flat)

This is a recording of a Wolf Tone on the major sixth or seventh above the open G on a cello. I recorded this sound using an Azden SGM-X microphone and edited it in Audacity.

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

Mystic chord on C as the 1, 11, 7, 5, 13, and 9th harmonics (harmonics 8 through 14, without 12). 1 = C = 0 cents = unison 11 = F↑ = 551.32 cents = eleventh harmonic 7 = B♭ = 968.83 cents = harmonic seventh 5 = E = 386.31 cents = just major third 13 = A♭ = 840.53 cents = thirteenth harmonic 9 = D = 203.91 cents = large just whole tone

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).