224 безплатни аудиофайлове за "Macro Analysis"

Šur Daramad

Op. 109, bars 1-4.

Šur Forud

Šur Forud

Šur Forud

Op. 109, bars 1-4.

Šur Daramad

Battements et son résultant (deux embouchures de flûtes à bec)

Beethoven, Diabelli Variation No. 13

Rebel, les Elemens, opening

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Theme by Anton Diabelli

Ejemplo de batimiento (acústica). Frecuencias: 440 Hz y 339 Hz.Example of beating (acoustic). Frequencies: 440 Hz and 339 HzNederlands: Voorbeeld van zweving (akoestiek). Frequencies: 440 Hz en 339 Hz

Hendrix chord.

Shave and a Haircut in G with chords. Triplet swing.

Vivaldi Winter from the Four Seasons

Elektra chord implies an E Major and C# Major chord together (C# E# G# = Db F Ab)

Shave and a Haircut in G. Triplet swing.

Power chord on E. Created by Hyacinth (talk) 14:21, 27 July 2008 using Sibelius 5.

The secondary dominant chords of the key of C major, each given before the chord of which it is the dominant. Digital recording, made with an acoustic piano and Wavesurfer software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by 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:

Tonfolge von "Shave and a Haircut" in C-dur als Audio-Datei (ogg-Format)

Beispiel einer Shepard-Tonfolge; Scheinbar unendlich tiefer werdender Ton Example for a Shepard tone

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

Handel, Messiah, Hallelujah Chorus closing bars

Rauhigkeit 1 Apser = Sinus 1000 Hz und Sinus 1070 Hz gleichzeitig.The sound of a harshness of 1 asper = a sine wave tone of 1000 Hz 100 % modulated with a sine wave tone of 70 Hz at 60 dB sound pressure.

Actual score to accompany an analysis by Czerny (simplified) of the first measures of Chopin Study op. 10 n. 1.

Fichier audio de l'image correspondante (Interpolation_musique_Openmusic.png)

Chopin, op. 28 n. 6, bars 1-3, as quoted by Schenker.

Mozart, Don Giovanni dances from act 1, scene 5

An ascending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff similar to the descending fifths sequence, except going in the opposite direction.

A sample of clean versus buzz sound (E) on electric guitar. Un exemple de corde qui frise (mi) sur une guitare électrique.

Sound of steel chisel (tritone)

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Sound of steel chisel 8th (octave)

Octave on C. 1/2: 1200 cents.

Octaves marked middle octave. Created by Hyacinth (talk) 07:54, 3 January 2012 (UTC) using Sibelius 5.

Octaves marked highest octave. Created by Hyacinth (talk) 07:54, 3 January 2012 (UTC) using Sibelius 5.

Multi-octave F major chord with octaves marked by brackets. Created by Hyacinth (talk) 07:47, 3 January 2012 (UTC) using Sibelius 5.

Mahler Symphony No. 10 Adagio bars 201-213

Author: Jaser 12345, made and released by myself into the public domain.

Octaves marked lowest octave. Created by Hyacinth (talk) 07:51, 3 January 2012 (UTC) using Sibelius 5.

Chopin Prelude No. 15, bars 28-29

Debussy, La Fille aux cheveux de lin, bars 26-29

Chopin Fantaisie in F minor

An important subtype of the descending 5-6 sequence is the root position variant, also known as the Pachelbel sequence, due to the use of this sequence in Pachelbel's Canon. The Pachelbel sequence changes the first inversion chords in the descending 5-6 sequence to root position chords, resulting in a bass pattern that moves down a fourth, and then up stepwise.

The closing bars of String Quartet in E flat, Op. 33 by Haydn

Wagner Sleep music from Act 3 of Die Walkure

Chopin Fantaisie in F minor, Op.49

The standard way of filling in this descending thirds pattern is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.