223 Royalty-Free Audio Tracks for "Seventh"

*Four-hundred-thirty-seventh harmonic on C = A+. Just: 437/256 = 925.79 cents. Limit: 23-limit. MIDI pitch bend: 32,72

*Hundred-forty-seventh harmonic on C = E♭+. Just: 147:128 = 239.61 cents. Limit: 7-limit. MIDI pitch bend: 86,44

*Six-hundred-ninety-seventh harmonic on C = E♯. Just: 697/512 = 534.02 cents. Limit: 41-limit. MIDI pitch bend: 113,74

*Five-hundred-sixty-seventh harmonic on C = D♭+. Just: 567/512 = 176.65 cents. Limit: 7-limit. MIDI pitch bend: 67,88 on m2

*Seven-hundred-seventy-seventh harmonic on C = G♯+. Just: 777/512 = 722.12 cents. Limit: 37-limit. MIDI pitch bend: 10,71

*Three-hundred-seventy-seventh harmonic on C = B♭. Just: 377/256 = 670.10 cents. Limit: 29-limit. MIDI pitch bend: 55,54

*Two-hundred-forty-seventh harmonic on C = C♭. Just: 247/128 = 1138.04 cents. Limit: 19-limit. MIDI pitch bend: 22,76

The Gallant Seventh performed by the Concert Band of the United States Air Force Heritage of America Band. Track 3 from American Salute (1998).

*Sixty-seventh harmonic on C = ?. Just: 67/64 = 79.31 cents. Limit: 67-limit. MIDI pitch bend: 49,89 on PU

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

Shuffle pattern with staggered thirds played on piano.

Sixth and seventh grade girls warming up for a basketball game at a st. Paul, mn gymnasium.

III+7M chord in C minor.

*Seventy-seventh harmonic on C = E↑♭ (Ben Johnston's notation). Just: 77/64 = 320.14 cents. Limit: 11-limit. MIDI pitch bend: 57,70

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

Recorded next to a window, in a seventh floor, with traffic below, while it was raining hard.

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.

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

Beethoven Appassionata 3 final bars of Andante

Some piano recordings with door noises in the background. First chord is an f major 7th and then it goes down to a d minor seventh or something. Not sure.

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).

*Eighty-seventh harmonic on C = F+ (Ben Johnston's notation). Just: 87:64 = 531.53 cents. Equal-tempered: 25/12:1 = 500 cents. Limit: 29-limit. MIDI pitch bend: 11,74

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

VI7 in C minor. Created by Hyacinth (talk) 15:26, 2 July 2011 (UTC) using Sibelius 5.

Diagonal barre chord: major seventh chord on G. The first finger fingers both the second fret on the first four strings and the third fret on the sixth string.

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

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

Seven six chord on C (C7/6). Created by Hyacinth (talk) 15:53, 26 June 2011 (UTC) using Sibelius 5.

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

A major chord + minor 7th with following samples (listed in order):an equal tempered arpeggiothe matching equal tempered chordan arpeggio with just intonationthe matching chord with just intontation.

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

Dominant raised ninth flat five chord on C. C E Gb Bb D#.

[en]. It's a recording of me reading the seventh chapter of the matthew's gospel. [pl]. Jest to nagranie w którym czytam siódmy rozdział ewangelii św. Mateusza.

Seventeen recordings of children and preteens talking, playing, etc. Most of these were recorded at an american middle school, primarily sixth and seventh-graders.

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

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: I+75 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Complexe sonore: the octatonic scale may be arranged as four major chords or seventh chords. Created by Hyacinth (talk) 13:49, 13 June 2010 using Sibelius 5.

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

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

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

Augmented chord progression: I+65 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified].

*257th harmonic on C = ??. Just: 257:256 = 6.75 cents. Limit: 257-limit. MIDI pitch bend: 20,66

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

*Classic diminished octave/Large just major seventh on C = C♭. 48/25 = 1129.33 cents. Limit: 5-limit. MIDI pitch bend: 49,73

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

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.