1,973 Royalty-Free Audio Tracks for "Sinbad (1918 Musical)"

Seventh augmented fifth chord on C.

Schoenberg hexachord (S-C-H-B-E-G). Created by Hyacinth (talk) 00:33, 13 October 2010 using Sibelius 5.

Just Intonation Major Chord (4:5:6)

C major scale, ascending and descending

So What chord.

Diatonic scale on C in 15 equal temperament. C, D, E↓, F, G, A↓, B↓, C. If C=0: 0, 3, 5, 7, 9, 11, 14, 0. MIDI pitch bend matches intervals.

*Unison on C = C. Just: 1:1 = 0 cents. Equal-tempered: 20/12:1 = 0 cents. Limit: 3-limit.

Ab-over-A slash chord.

G7alt chord.

Scale of the Locrian mode starting on C [ogg vorbis sound file]

Scale of the Aolian mode starting on C

Seventh suspension four chord on C. Created by Hyacinth (talk) 20:28, 31 May 2011 (UTC) using Sibelius 5.

Suite for Microtonal Piano microtonal tuning arranged in a chromatic scale. Created by Hyacinth (talk) 14:26, 17 January 2012 (UTC) using Sibelius 5.

C triad with doubling. Created by Hyacinth (talk) 23:44, 5 November 2011 (UTC) using Sibelius 5.

[Dominant] eleventh chord in F, on C (C11). "As it appears in actual music": C, —, G, B, D, F.

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

Augmented triad on D.

Dominant thirteenth chord (V13) in F major (C E G B♭ D).

Half-diminished seventh chord on C

*Augmented eleventh on C = F♯'. Equal-tempered: 218/12:1 = 1800 cents. MIDI pitch bend: none

Viennese trichord as dominant. Created by Hyacinth (talk) 21:31, 4 July 2010 using Sibelius 5.

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

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

Tritone substitution and altered chord as, "nearly identical". Chords: C7, F♯7, and C7 +9 +5: Root 3rd 5th 7th 9th 11th 13th C

Diminished triad on B, as MIDI

Scale of the Phrygian mode starting on C [ogg vorbis sound file]

*Augmented fourth on C = F♯. Equal-tempered: 26/12:1 = 600 cents. MIDI pitch bend: none

Istrian mode as subharmonics 14 through 7 on C: D-, E↓, F, G↓, A♭, B♭-, C, D-' = D, E, F, G♭, A♭, B♭, C, D'.

Minor seventh chord on d (ii7) in C. Created by Hyacinth (talk) 07:23, 14 August 2011 (UTC) using Sibelius 5.

An arpeggio.

Seven steps in A12 equal temperament on middle C. 3(7/12)=1109.47 cents.

36-tet scale, or sixth-tone (1200/36 = 33.33 cents) scale, on C. MIDI pitch bend appears to match intervals.

Six steps in A12 equal temperament on middle C. 3(6/12)=950.98 cents.

Five steps in A12 equal temperament on middle C. 3(5/12)=792.48 cents.

Leading-tone seventh chord in C minor.

Violoncello chord on D.

Supertonic diminished seventh chord in C (D♯=E♭).

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

Dominant thirteenth: four-voice version.

Half-diminished seventh chord on supertonic in C minor.

Example of a German sixth chord, preceded by predominant chords, in Scott Joplin's Binks' Waltz (1905).

Two steps in A12 equal temperament on middle C. 3(2/12)=316.99 cents.

13-tet scale on C. MIDI pitch bend correct for intervals.

23-tet scale on C. 1200 cents/23 = steps of 52.17 cents. MIDI pitch bend matches intervals.

Truck driver's gear change, modulation up a whole step, in "Because the Night".

Dominant seventh flat nine chord on C - As MIDI

9-tet scale on C. MIDI pitch bend matches intervals.

Dominant thirteenth chord in four-part writing.

Four steps in A12 equal temperament on middle C. 3(4/12)=633.99 cents.