168 безкоштовних аудіофайлів для "Diminished Sevenths"

viio7 in G major, on the guitar.

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)

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

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

Just diminished seventh in just C scale: B and A♭.

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

*6859rd harmonic on C = B. Just: 4/12 = 892.54 cents. Limit: 19-limit. MIDI pitch bend: 78,61

*Pythagorean diminished seventh on C = B--- (Ben Johnston's notation). 32768:19683 = 882.40 cents. Limit: 3-limit.

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

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

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.

*Just diminished seventh on C = B- (Ben Johnston's notation). 128:75 = 925.42 cents. Limit: 5-limit. MIDI pitch bend: 17,72

Created in Sibelius. Major sixth (Diminished seventh) on C = A (B). Equal-tempered: 29/12:1 = 900 cents. MIDI pitch bend: 0,64

Diminished seventh chord on B.

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

Diminished seventh chord on C

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

Common-tone diminished seventh chord.

Beethoven Appassionata 3 final bars of Andante

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.

Half-diminished seventh chord on C

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

Leading-tone seventh chord in C minor.

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

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.

Half-diminished seventh chord on supertonic in C minor.

Sharpened subdominant with diminished seventh chord in C.

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

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

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.

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.

Diminished seventh chord's use in modulation.

Diminished triad on C , as MIDI.

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.

Diminished seventh chord as incomplete ninth in C.

Chord progression with diminished seventh chords added.

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

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

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη

*Diminished fifth on C = G♭. Equal-tempered: 26/12:1 = 600 cents. MIDI pitch bend: none

3-10 trichord on C. Diminished chord.

*Augmented octave and diminished unison on C = C♯. Equal-tempered: 21/12:1 = 100 cents. MIDI pitch bend: none Note how the diminished unison is essentially equivalent to the augmented unison.

Iidim6 chord in C.

45:54:64 = F#+, A+, C = C, Eb, Gb-