16 170 безплатни аудиофайлове за "Bwv 855a – Klavierbüchlein W. F. Bach No. 18: Praeludium 5 = Early Version Of Wtc I No. 10"

Prelude in B minor (J. S. Bach, arranged by Siloti), an arrangement of Bach's Prelude in E minor BWV 855a

Borrowed chord (viio) in Mozart K. 576, II: Adagio, mm.13-16.

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

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

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 35 Prelude No. 18 in G-sharp minor, BWV 863

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 35 Prelude No. 18 in G-sharp minor, BWV 863

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 36 Fugue No. 18 in G-sharp minor, BWV 863

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 36 Fugue No. 18 in G-sharp minor, BWV 863

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 19 Prelude No. 10 in E minor, BWV 855

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 20 Fugue No. 10 in E minor, BWV 855

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 20 Fugue No. 10 in E minor, BWV 855

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 19 Prelude No. 10 in E minor, BWV 855

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 10 Fugue No. 5 in D major, BWV 850

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 09 Prelude No. 5 in D major, BWV 850

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 09 Prelude No. 5 in D major, BWV 850

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 10 Fugue No. 5 in D major, BWV 850

Symphony No. 5, first movement, bars 195-227

Mahler Symphony No. 5, II. Stürmisch bewegt, mit größter Vehemenz

Mahler Symphony No. 5, I. Trauermarsch

Mahler Symphony No. 5, V. Rondo Finale

Mahler Symphony No. 5, IV. Adagietto

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 21 Prelude No. 11 in F major, BWV 856

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 22 Fugue No. 11 in F major, BWV 856

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 22 Fugue No. 11 in F major, BWV 856

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 24 Fugue No. 12 in F minor, BWV 857

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 23 Prelude No. 12 in F minor, BWV 857

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 23 Prelude No. 12 in F minor, BWV 857

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 24 Fugue No. 12 in F minor, BWV 857

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 21 Prelude No. 11 in F major, BWV 856

Bach Fugue XXII in B flat minor BWV 869, closing bars

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 28 Fugue No. 14 in F-sharp minor, BWV 859

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 25 Prelude No. 13 in F-sharp major, BWV 858

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 26 Fugue No. 13 in F-sharp major, BWV 858

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 26 Fugue No. 13 in F-sharp major, BWV 858

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 25 Prelude No. 13 in F-sharp major, BWV 858

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 27 Prelude No. 14 in F-sharp minor, BWV 859

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 28 Fugue No. 14 in F-sharp minor, BWV 859

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 27 Prelude No. 14 in F-sharp minor, BWV 859

An arpeggio passage from Bach's Jesu, Joy of Man's Desiring.

10. Chorale: Jesus bleibet meine Freude from BWV 147

Piano Sonata No. 10, 3rd movement, allegretto.

Pedal tone in Bach's Prelude no. 6 in D Minor, BWV 851, from The Well Tempered Clavier, Book I, m.1-2. Created by Hyacinth (talk) 04:48, 4 July 2011 (UTC) using Sibelius 5. Bahasa Melayu: Contoh ton dengung (pedal tone). Fail asal wiki:en ialah Domain Awam, calon Wiki Commons. Diubah daripada format mid ke ogg.

Pedal tone in Bach's Prelude no. 6 in D Minor, BWV 851, from The Well Tempered Clavier, Book I, m.1-2. Created by Hyacinth (talk) 04:48, 4 July 2011 (UTC) using Sibelius 5.

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

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.