35 Royalty-Free Audio Tracks for "Thirteenth Chords"

Thirteenth Polychord - Separate chords within an extended chord.

Thirteenth chord CMA13(sharp11).

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

Dominant thirteenth chord in four-part writing.

Thirteenth chord C13. Created by Hyacinth (talk) 18:56, 4 July 2009 using Sibelius 5.

Thirteenth chord CMA13. Created by Hyacinth (talk) 18:55, 4 July 2009 using Sibelius 5.

Thirteenth chord CMI13. Created by Hyacinth (talk) 19:35, 4 July 2009 using Sibelius 5.

Thirteenth chord C13sus. Created by Hyacinth (talk) 19:35, 4 July 2009 using Sibelius 5.

Dominant thirteenth: four-voice version.

Thirteenth chord CMI7(add13). Created by Hyacinth (talk) 18:56, 4 July 2009 using Sibelius 5.

Thirteenth chord C13(b9). Created by Hyacinth (talk) 19:39, 4 July 2009 using Sibelius 5.

Thirteenth chord CMA7(add13). Created by Hyacinth (talk) 18:55, 4 July 2009 using Sibelius 5.

Thirteenth chord C13(sharp11). Created by Hyacinth (talk) 19:37, 4 July 2009 using Sibelius 5.

Thirteenth chord Cm13(+11). Created by Hyacinth (talk) 13:36, 7 July 2009 using Sibelius 5.

Thirteenth chord based on minor triad. Created by Hyacinth (talk) 13:43, 7 July 2009 using Sibelius 5.

Thirteenth chord with flat ninth. Created by Hyacinth (talk) 13:36, 7 July 2009 using Sibelius 5.

Tonic thirteenth chord on F. Created by Hyacinth (talk) 22:14, 1 July 2009 using Sibelius 5.

A dominant thirteenth in F minor. Created by Hyacinth (talk) using Sibelius 5.

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

Thirteenth chord C13b9. Bass note: C or alternatively G. Created by Hyacinth (talk) 01:33, 6 July 2009 using Sibelius 5.

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

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

A thirteenth chord "collapsed" into one octave results in a dissonant, seemingly secundal[1] tone cluster. Created by Hyacinth (talk) 22:18, 5 July 2009 using Sibelius 5.

Dominant thirteenth: four-voice version. "This disposition is typical." Created by Hyacinth (talk) 18:33, 30 May 2011 (UTC) using Sibelius 5.

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

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.

Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 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.

Dominant thirteenth chord in Claude Debussy's Prelude to the Afternoon of a Faun (1894). Created by Hyacinth (talk) 02:50, 5 July 2009 using Sibelius 5.

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

Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position fourth.

Fifteenth chord from Perry on C

Full diatonic fifteenth chord from Listz on B

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