164 Royalty-Free Audio Tracks for "Dominant"

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

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

Chords with a primary or secondary dominant function.

Dominant seventh in C in first inversion

Dominant seventh tritone resolution chords, As MIDI

7th dominant chord played on flute.

Dominant ninth chord on C.

Dominant seventh with root doubled and missing fifth resolving to I, in C.

Dominant eleventh without third.

Dominant seventh chord (V7) in C, G7.

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

Dominant seventh chord on C, played on guitar, barre chord.

Dominant seventh chord on C, played on guitar in open position.

Dominant seventh flat five chord on C - As MIDI

Dominant and dominant parallel in C major: GM and Em chords.

Dominant seventh raised ninth vs dominant seventh split third chord.

Dominant and dominant parallel in C minor: Gm and BM chords.

Lydian dominant scale on C.

German sixth equals dominant seventh

Dominant 9th chord from "Hommage a Rameau" by Claude Debussy.

Dominant seventh flat nine chord on C - As MIDI

MIDI rendering of first ten bars of psalm motet "Domine, ne in furore" by Josquin des Prez. See File:Josquin Domine ne in furore.pdf for source.

Jacob Hintze: Kanon In te, Domine, speravi: non confundar in aeternum (Schlussvers des Te Deum)

Dominant seventh in Beethoven's Fifth Symphony, last movement.

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

♯IIo7 as dominant substitute.

Secondary dominants in Beethoven's Op. 14 No. 2, mov. II, mm.16-19.

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

Subtonic as secondary dominant to the mediant in minor from Brahms Op.76.7, Eight Pieces, for piano (1878).

Simple e-phrygian dominant scalar run. Dripping wet.

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

Tonic and dominant in C. C major and G major chords.

Mozart - Requiem (Krips) - IX. Domine Jesu

Dominant seventh in Monteverdi's "Lasciatemi Morire" ("Oh, Let Me Die"), Lamento_d'Arianna. Created by Hyacinth (talk) 09:44, 12 January 2012 (UTC) using Sibelius 5.

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

Dominant eleventh on F in fifth inversion: B♭CE♭FGA. V11 resolves to I.

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

Extended dominants/successive secondary dominants in Chopin's Op. 26, no. 1, mm.62-63. V/ii = V/V/V, V/vi = V/V/V/V.

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

08. stripedgazelle - 08 Domine Iesu

Dominant eleventh chord in four-part writing.

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

Melchior Franck: Da pacem, Domine, in diebus nostris, vierstimmiger Kanon, in Tonika- und Dominantlage kombiniert

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#.

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

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

4-27A (dominant seventh chord) tetrachord on C

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.