34 безплатни аудиофайлове за "Two Measures"

Bo Diddley beat.

Medium tape measure drawn out and retracted. Two versions for retraction, slowly and letting go. Recorded on a tascam dr-100mkiii with an audio technica at875r shotgun mic in 24/48 mono.

Delayed backbeat (last eighth note in each measure) as in funk music. Created in Sibelius. en:Image:Delayed backbeat.png

The most common and simple blastbeat. Two measures repeated (four measures total).

Shuffle triplet-like performance.

Last two measures of Schoenberg's "George Lieder" Op. 15/1.

Blast beat drum pattern.

9/8 drum pattern.

Heavy metal gallop rhythm as drum pattern.

3-2 son clave.

3-2 rumba clave.

Blast beat drum pattern.

Shuffle pattern with staggered thirds played on piano.

3/4 drum pattern.

Simple duple drum pattern: divides two beats into two. Created by Hyacinth (talk) 02:19, 20 July 2009 using Sibelius 5.

Janacek Sinfonietta 2nd movement, opening bars

Ghost note drumming: ghost notes indicated by parentheses, main notes distinguished by accents.

Backbeat pattern on snare drum. Created in Sibelius. en:Image:Backbeat pattern snare drum.png

Charleston rhythm, simple rhythm commonly used in comping. Ragtime progression.

Blast beat drum pattern.

6-8 clave in 4-4.

Created by Hyacinth (talk) 21:40, 28 July 2008 in Sibelius. Shuffle feel example played straight: with NO shuffle.

False relation typical in the music of the Baroque period. This particular chord sequence is common in the works of J.S. Bach. I guessed at the tempo.

Basic shuffle rhythm. Created by Hyacinth (talk) 22:04, 28 July 2008 in Sibelius.

Half time: notice the snare moves to beats 3 of measure one and two (beats 3 & 7) while the hi-hat plays only on the quarter notes. Note also, for example, that the quarter notes 'sound like' eighth notes in one giant measure.

Double-time: notice the snare moves to the "&" beats (compared to "regular" time) while the hi-hat begins to subdivide sixteenth notes.

Stomp progression two-measure three-chord harmonic cycle. F F#dim7 C7/G C7.

3/4 version of Image:Characteristic rock drum pattern.png.

Two measures of squelchy acid bass with piercing synth chords. Created in lmms, further effects applied in audacity with valhalla supermassive. 140 bpm, a flat hungarian minor.

Debussy Reflets dans l'Eau opening 2 bars

Several distinct words being typed on a keyboard. Two hits of the "enter" key thrown in at the end for good measure.

Debussy Reflets dans l'Eau varied recapitulation of the opening

Simple patch. Two oscillators, ring modulation, lfos, vcas and digital effects. No spring reverb this time. Important module is the clock divider. The oscillators where tuned to the same tone one octave apart. Well. . . Not exactly. After having recorded i measured the frequencies 228,8 hz and 117,7 hz. . . But that made the output from the ring modulator interesting. What is generative with this? i modulate amplitude of the sounds and the decay for all thee sounds. This also affects the rhythm sound.

* the music is a backing track, intended for practice, exploring the lydian tonality. The backing track runs through each of twelve tonal centers, starting with d lydian and moving down a fifth every two measures (counterclockwise through the cycle of fifths), ending with a lydian. * the audio consists of a single pass through the 12 tonalities, but the files are optimized for looping and should transition smoothly from end to beginning, given the appropriate looping software or hardware. * i enjoyed making this track and found it useful for practicing various ideas, such as running scales in different positions, directions, and intervallic combinations, superimposing triad and tetrad shapes, voicings, inversions, and lines. And just jamming out and improvising freeform.