2212 безплатни аудиофайлове за "D Sharp Chords"

Impromptu Opus post. D 946 - No. 3 in C major (allegro).

Sonata in B-flat major, Deutsch Catalogue 960 - 4th movement: allegro ma non troppo

Bob Dylan's "Lay, Lady, Lay" verse.

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

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

Harmonic Chord 3:5:7:9. Traditional notation: G E B♭ D. Title refers to harmonics (fundamental=1:3:9:etc.).

Excerpt from Bach's Mass in B minor

Scriabin, Sonata Op.5 Op.53. Meas.263-264

Sonata in B-flat major, Deutsch Catalogue 960, 2nd movement.

Truck driver's gear change, modulation up a whole step, in "Because the Night".

piano concerto in a minor, op. 16 - ii. adagio.  

Consonant harmonies based on the odd harmonic overtones 3/5/7/9.

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.

Soft, yet simultaneously powerful synth pad/synth string chords. Lightly processed- only minor eqing and reverb touches. Chord progression based in f# major. Free to use as desired.

Chord rewrite rules II: use of chromatic passing chords.

Created by Hyacinth (talk) 19:12, 18 January 2011 using Sibelius 5.

Augmented chord progression: I+#6 IV. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

iv IV I V chord progression.

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

Harmonic progression from a Mozart piano sonata--sound file. Piano Sonata in G, K. 283, third movement, starting measure 247. Digital recording by Opus33 using Wavesurfer software. Transcription into chords by Opus33, loosely following Piston and DeVoto, Harmony. This music is in the public domain. The recording is not copyrighted, and it is hereby released by its creator (known in this context by the pseudonym Opus33) into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:

Chord rewrite rules I: replacement or substitution of a chord by its dominant or subdominant.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

Augmented chord progression: I+64 IV6. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Montgomery-Ward bridge in C (I7-IV7-ii7-V7). Created by Hyacinth (talk) 06:58, 11 June 2010 using Sibelius 5.

Augmented chord progression: I+ IV64. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

tonale Quartfallsequenz

Audio sample which exemplifies Andalusian cadences, as shown in the article (see the picture below the Structure section). Recorded using an emulated acoustic Steinway piano through the Sound Font 2 technology, on August 9th, 2007 and released into public domain in the same day.

reale Quintfallsequenz

tonale Quintfallsequenz mit Dreiklängen und Sextakkorden im Wechsel

reale Quartfallsequenz

ii-V substitution.

Violin concert in D, Op. 61 — 2nd movement: larghetto. Violinkonzert in D, Op. 61 — 2. Satz: larghetto.

1st release date: 1924 1st recording date: January 1924 Place of recording: unknown Author(s)/Composer(s): Franz Schubert (1797-1828) Music arranger(s): none Lyricist: Johann Wolfgang von Goethe (1749-1832) Performer(s): Claire Dux (1885-1967) Vocal range: instrumental Title/Work: Heidenröslein, D 257, Op. 3, No. 3 Content: - Genre(s): Tone poem

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.

A guitar riff made with openmodplug tracker.

A palm-muted d major chord played on an acoustic guitar. Recorded on a tascam dr-07 mkii.

Another fm synthesis experiment. The name tells you what it was meant to sound like. You tell me if it was anywhere near close.

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

Example of leading-tone triad (viio) and secondary leading-tone triad in Johann Sebastian Bach's Chorale: Gott der Vater wohn' uns bei (BWV 317). Identified by Forte (1979) ISBN 0-03-020756-8 as BWV 748, which is currently attributed to Johann Gottfried Walther.

A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.

D min7 chord of a halion 6 patchmultisample (c0-c6). Source: zebra 2, spectro blend oscillators (additive synthesis). Strong processing with spectral fx (esp. Mtransform), eq/geq + compressor to balance the frequency spectrum. Feel free to suggest/demand other chords. Don´t hesitate. . .

This is a faulty file delete it. I uploaded the corrected file, above my 5th upload by the same name.

Sonata in B-flat major, Deutsch catalogue 960 - iii. scherzo (allegro vivace con delicatezza).

Violink concert in D, Op. 61 — 1st movement: allegro ma non troppo. Violinkonzert in D, Op. 61 — 1. Satz: allegro ma non troppo.

Diatonic mediant/submediant chord progression: i VI i (submediant, in minor).

Diatonic mediant/submediant chord progression: I vi I (submediant, in major).

Diatonic mediant/submediant chord progression: I iii I (mediant, in major).

Awadagin Pratt performs the first and fourth movements of Franz Schubert's piano four hand Fantasia in F minor with student pianist Lucy Hattemer at the White House Classical Music Student Workshop Concert. In the 1 hour session this is from about 21:20 - 29:04.

Sharpening knifes together.

F sharp on the saxophone.