87 zvukové soubory bez licenčních poplatků pro "Fort"

Masse:groupe tonique d'accords. Timbre harmonique:éclatant. Grain:rugueux à cause de la distorsion authorisée. Vibrato:non. Dynamique:grande attaque. Profil mélodique:plutôt scalaire. Profil de masse:on entend la guitare acoustique sous la forte distorsion.

Sveriges Radios folkmusikinspelningar. Bidrag till Radiotjänsts folkvisetävling. Dokumentatör: Matts Arnberg Radiotjänsts ursprungliga produktionsnummer: 52/17125:2:11

Sold a module. Now there is room fort dirt again. The name is well-deserved. Dirt is a filter module from synthrotek. It's so strange that i wonder if the person who built it got it right. . . It's a kit. But i bought the module second hand.

Eau tirée doucement puis lavabo se vidant. Eau tirée plus fort et lavabo se vidant avec plusieurs répliques de turbulences. Water pulled out slowly and washbasin emptying. Water pulled out harder and washbasin emptying with several replicas of turbulence. Nagrasd capsule lem hd.

Movement IV of "The Planets" by Gustav Holst, Jupiter, the Bringer of Jollity. Performed by the U.S. Air Force Heritage of America Band in a transcription by Merlin Patterson, edited by Capt. Lang and MSgt Aldo Forte for their 1998 C.D. Frontiers

Movement III of "The Planets" by Gustav Holst, Mercury, the Winged Messenger. Performed by the U.S. Air Force Heritage of America Band in a transcription by Merlin Patterson, edited by Capt. Lang and MSgt Aldo Forte for their 1998 C.D. FrontiersFrançais : Troisième mouvement des Planètes, Mercure, le messager ailé, composé par Gustav Holst. Performance du US Air Force Heritage of America Band selon une transcription de Merlin Patterson, éditée par les Capt. Lang et MSgt Aldo Forte lors de la publication en 1998 de leur CD Frontiers. (Durée : 4 m 23 s)

Movement VI of "The Planets" by Gustav Holst, Uranus, the Magician. Performed by the U.S. Air Force Heritage of America Band in a transcription by Merlin Patterson, edited by Capt. Lang and MSgt Aldo Forte for their 1998 C.D. Frontiers

Elaboration of the tonic arpeggio as prolongation in Bach, BWV 801, measures 3-4, per Forte, Allen (1979). Tonal Harmony in Concept and Practice, p.426. Holt, Rinehart, and Winston. ISBN 0-03-020756-8; image/audio made from score at the IMSLP.

Sveriges Radios folkmusikinspelningar. Edseleresan 1963 Dokumentatör: Matts Arnberg, Märta Ramsten SV EN Instrument: Röst (sång) Radiotjänsts ursprungliga produktionsnummer: 63/M/6207:10:3

Sveriges Radios folkmusikinspelningar. Norrlandsresan 1962 Dokumentatör: Matts Arnberg SV EN Instrument: Röst (sång) Radiotjänsts ursprungliga produktionsnummer: 62/M/6302

Elaboration of the tonic arpeggio as prolongation in Chopin, Op. 48, measures 1-4, per Forte, Allen (1979). Tonal Harmony in Concept and Practice, p.426. Holt, Rinehart, and Winston. ISBN 0-03-020756-8; image/audio made from score at the IMSLP.

Sveriges Radios folkmusikinspelningar. Norrlandsresan 1962 Dokumentatör: Matts Arnberg SV EN Instrument: Röst (sång) Radiotjänsts ursprungliga produktionsnummer: 62/M/6302:1:7

/////description de base ////////. A galloping horse//////////typologie (p. Schaeffer)///. X'' : itération complexe. ////////morphologie////////////. - masse:groupes de sons / nodal. - timbre harmonique:terne. - grain:présence de grain. - allure:vibrato dans l'allure. - dynamique:attaque graduelle. Le son est de plus en plus fort. - profil mélodique:variation en escalier. - profil de masse:filtrage des aigus.

This is my new rotary-valved cornet with german valves and a 1913 holton bell all plated in gold and white rhodium. The sample was recorded in a large church in north carolina. With the help of bill jones i designed this horn and dr. Jones built it. It starts loud at a forte but then plays some quieter phrases around a mezzo piano.

Sveriges Radios folkmusikinspelningar. Edseleresan 1963 Dokumentatör: Matts Arnberg, Märta Ramsten SV EN Instrument: Röst (sång) Radiotjänsts ursprungliga produktionsnummer: 63/M/6207:7:1

Sveriges Radios folkmusikinspelningar. Medelpadsresan 1957 Dokumentatör: Matts Arnberg SV EN Instrument: Röst (sång) Radiotjänsts ursprungliga produktionsnummer: M 57/64 Sv:1:17

Title/Work: The hymns my Mother used to sing Content: Song of 1911, Baritone vocal solo and orchestra Genre(s): Christian hymns (sacred music) Author(s)/Composer(s): Frank Langford (unknown birth/death date) Music arranger(s): none Lyricist(s): Frank Gee-Fort (unknown birth/death date) Performer(s): Robert Carr, baritone (1881-1948) Conductor: none Place of recording: London (United Kingdom) 1st release date: 2 October 1911 1st recording date: 21 September 1911

Sveriges Radios folkmusikinspelningar. Hälsingland/Gästriklandresan 1949 Dokumentatör: Matts Arnberg SV EN Instrument: Röst (sång) Hänvisning till tryckt källa: Radiotjänsts folkvisetävling, A 337:2 (Samling hos Svenskt visarkiv) Radiotjänsts ursprungliga produktionsnummer: L-B 49/12062:5:5

Pluie évoluant de faible à fort à l'intérieur d'une véranda , en été lors d'un petit orage. La pluie tombe sur le toit en plastque ainsi que dans un seau placé sous une fuite du toit. Enregistré avec un pcm-50 sony. Format stéréo.

Screams of a female warrior on the battle field. Encouraging her companions forward, taking blows, giving blows and hacking something to pieces. #adpprecorded using a rode nt-1 microphone through a uk=r22-mkii interface using reaper. I recorded this within a blanket fort to reduce external noise and potential echo.

A boeing airplane taking off on november 12 from fort myers airport to columbus ohio. I thought this would be a good recording for freesound, so i thought i'd upload it. You can also hear other background noise such as people talking. As always, feel free to link in the comments of your project that you used it for. I'd like to check it out!.

Carl Maria von Weber - Sonates pour violon et piano-forte, op.10 (n°1, deuxième mouvement) interprété par Fritz Kreisler et Michael Raucheisen (1930). Carl Maria von Weber - Sonata for violin & piano, op.10 (n°1, second movement) played by Fritz Kreisler and Michael Raucheisen (1930).

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.

This sound was created using audacity. With it i opted to show you what is the effect of 440 hz sound with an amplitude of 0,8 on our body. It’s a sound creating disorder and is even difficult to listen to for a long time. This sound was created using audacity. With it i opted to show you what is the effect of 440 hz sound with an amplitude of 0,8 on our body. It’s a sound creating disorder and is even difficult to listen to for a long time. Ce son est de type x (continu complexe), il est un son seul tonique et terne. L’attaque au début est graduelle et forte. Le son est dense, profond et intense.

If you stand just underneath a commercial airplane as it's coming in to land (as was the case here at dfw airport) and so long as there's not a lot of noise around you (like loud traffic, etc. ) then when the jet passes overhead, what you can't see is that at the tips of the wings are rapidly spinning vortices of air that coil off the wingtips as the plane passes through air. These long, coiling spirals of air will eventually "close" and as that happens, it creates a momentary but bizarre, surreal sound that you really need to hear for yourself in person to get the full effect. This was the best i could capture on august 15th, 2022. Enjoy!.

Playground at the edge of a wood along a small lake. Boys (right) play a spy game in a wooden fort. Other kids (left) are in a merry-go-round driven my a mother. Girls on the slide. Recorded ijzeren man, vught, holland. Zoom h1 recorder, xy90. When you use this sound it would be nice if you spent a voluntarily donation to freesound. Remind that this is not a must. You are free to skip this request. Please credit/attribute me and freesound. Org if you use this sound. Please do it like this: sound from http://www. Freesound. Org/people/klankbeeld/do not use an indirect link.

It's a recording of a calcium-sandoz® forte/fuerte 500 mg effervescent tabled falling into a glass of water and dissolving. You can hear the tablet dropping into the water and water droplet hitting water surface back. After w while - co2 buubles start to appear creating noisy sound. The recording has a long natural fadeout and unfortunately some background noise. I leaved "silence" before the sound starts so you can de-noise the recording to your needs (i prefer audacity for denoisig). Recorded inside of my wardrobe for acoustic isolation using zoom h2 on a mic-stand. Recoded as 96khz/24-bit wav. Normalized, truncated and convertet do 16-bit flac using audacity. I've converted this to 16-bit as it still has plenty of noise and 24-bits would not be any better after normalization.

The story begins by a music that i found. A open door, heels, then silence, a chair, computer sounds with mouse, retake of music and close of the door. , who is the ending of music too. To produce that, i choose audacity; i take recorded moments of life. For the technique, i choose a fade in and fade out for the music and the recorded sounds fit well together. For the moments of silence, when the work begins, i only let the recorded sound talk without music. I choose to work with two mono audio tracks: on for the music and the other for the daily sounds. Descriptif selon la typologie de schaeffer. 1. Masse : son dit “cannelés”2. Timbre harmonique :3. Grain : rugueux4. Allure : non vibrato5. Dynamique : abrupte6. Profil mélodique : tentatives de variations glissantes7. Profil de masse : son cyclique avec des moments doux puis un peu plus fort.

Welcome to the asylum !this creepy sound is the recording sound of laughts that i cut to work with other sound to immerse us in a creepy atmosphere of mental asylum. I transformed the laughs in tears by reducing speed, and a delay to add an effect of inaccuracy. Typologie (cf. P. Schaeffer):v = continu variéc’est un groupe de son nodalla timbre harmonique de ce son est métallique,la microstructure du son peut être associé à un son étrange , déstabilisant. Le grain du son est à la fois lisse et rugueux. Le son comporte de vibrato notamment dans la voix. L’attaque du son est assez douce pour ensuite laisse place à des sons plus fort. C’est une dynamique graduelle. Le son possède des variations en forme d’escalier. Profil de masse : site.

O store Gud Du großer Gott, wenn ich die Welt betrachte Du großer Gott, wenn ich die Welt betrachte, die du geschaffen durch dein Allmachtswort, wenn ich auf alle jene Wesen achte, die du regierst und nährest fort und fort, dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Blick ich empor zu jenen lichten Welten und seh der Sterne unzählbare Schar, wie Sonn und Mond im lichten Äther zelten, gleich goldnen Schiffen hehr und wunderbar, dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Wenn mir der Herr in seinem Wort begegnet, wenn ich die großen Gnadentaten seh, wie er das Volk des Eigentums gesegnet, wie er's geliebt, begnadigt je und je, dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Und seh ich Jesus auf der Erde wandeln in Knechtsgestalt, voll Lieb und großer Huld, wenn ich im Geiste seh sein göttlich Handeln, am Kreuz bezahlen vieler Sünder Schuld, dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Dann jauchzt mein Herz dir, großer Herrscher, zu: Wie groß bist du! Wie groß bist du! Deutsche Nachdichtung: Manfred von Glehn (1867-1924)

A recording of flushing the toilet’s water, followed by a groaning door closing sound. Production stages : this sound was originally recorded by a group of students at university lyon 3. Then it was imported to audacity where few modifications were made. First of all, the record was precisely cut so there are no human voices in the background. Then, the sound was normalized and slightly compressed before applying the noise reduction effect. Last, but not least a constant gain was added at the beginning and lightly fading effect took his place at the end. Son du type x (continu complexe)c’est un groupe nodal des sons saturés avec une hauteur variée, suivis d’un bruit d’une haute hauteur. Le son est cannelé et constant et finisse par le son de la porte qui est métallique et aigul’attaque du son est rapide et forte, plutôt abrupte. Le grain est frémissement et rugueuxet l’allure est naturelle, désordonnée et aléatoire.

This is the first recording in this pack from inside a traditional, working old dutch windmill, called de lelie - the lily - in the picturesque dutch village of eenrum. This mill was used to grind grain. There was a strong northwesterly breeze straight from te sea, so the sails of the windmill were in full swing, this morning on saturday may 14th. The dominant sound you hear is the sound of the so called “schuddebak”, litterally translated as “shaking bin”. This is a device in the form of a large wooden shovel which is tapping against the turning millstone in order to distribute the grain equally along the millstone. On the background you hear the millstone itself. On the second recording in this pack, the millers had detached the schuddebak, so the sound of the millstone is more dominant in that recording. This windmill is now a small museum. Admission is free, so everyone can admire this proud dutch windmill heritage which reclaimed half our country from the sea and gave us our daily bread. Thanks to the millers fort heir hospitality and cooperation!. (i used an iphone with a zoom iq5).

This sound was created using audacity. First of all i chose a frequency of 432 hz ( a number which includes the golden rule/proportion), then i created a gradual rise in the first 4 seconds, leading into a peak which descends so it can go up again, creating an effect of confusion. At the end, the sound raises gradually and rapidly to reach its peak once again. This sound recreates, for me, a fast- moving ufo (unidentified flying object) and includes the notion of conspiracy in our society- the changing of the frequency of the tone “la “ from 432 hz to 440 hz in 1953 by the nazis. La règle d’or- 432 hertz. Le ton « la » est une pointe centrale dans le réglage des instruments musicaux. Le ministre de la propagande en allemagne pendant l’époque des nazis a fait un décret général avec lequel il a changé la tonalité « la »de 432 hz en 440 hz. On utilise cette hauteur à partir de 1939 jusqu’à nos jours. Il y a eu des protestes de la part de professeur dussault de la conservatoire parisienne qui a fait une pétition signé par 23 000 artistes françaises mais sans aucun résultat. L’organisation internationale de standardisation(iso) a accepté en 1953 les changements et on utilise la valeur de 440 hz depuis. Des recherches montrent que ce changement a des effets incontournables sur le corps et le cerveau humain- les gens entrent dans un chaos. Ce changement a été caché du monde entier parce que c’est le point de la balance dans la nature. 432 hz est la vibration qui inclue aussi le règle d’or (ou la proportion de dieu). Quand on écoute de la musique en 440 hz la première chose qu’on remarque c’est une fatigue, aucun envie de faire n’importe quoi et beaucoup d’autres ( y inclus le mouvement de notre adn) une étude récent montre que l’utilisation de 440 hz crée des mouvais effets dans la nature et dans toutes les êtres vivantes. Cette article m’a inspirée à recréer un son avec une fréquence de 432 hz qui monte et baisse graduellement. C’est un son seul de type complexe(nodal). Il est de type v( continu varié), il est éclatant,clair et lisse. L’attaque du début est graduelle et violente. Le son varie en « hauteur » de plus fort au moins fort et l’inverse, recréant un effet d’un ovni qui passe à côté de vous.

Movement I of "The Planets" by Gustav Holst, Mars, The Bringer Of War. Performed by the U.S. Air Force Band in a transcription by Merlin Patterson, edited by Capt. Lang and MSgt Aldo Forte for their 1998 C.D. Frontiers Primer movimiento, “Mars, The Bringer Of War”, de la suite orquestal “The Planets” (Los planetas, op. 32) compuesta por Gustav Holst en 1914-1916 « Mars, celui qui apporte la guerre », 1er mouvement de Les Planètes (Op 32), œuvre pour grand orchestre composée par Gustav Holst en 1914-1916. Italiano: Il 1° movimento, “Mars, The Bringer Of War”, della suite orchestrale “The Planets” (I pianeti, op. 32) composta da Gustav Holst nel 1914-1916 Македонски: Став I: „Марс, носителот на војни“ од оркестралната свита „Планети“ (Оп. 32) од Густав Холст (искомпонирана 1914-1916 г.) Первая часть “Марс, вестник войны” оркестровой сюиты “Планеты”, (Op. 32) композитор Гюстав Хольст, 1914-1916. Tiếng Việt: Phần thứ nhất, “Mars, The Bringer Of War”, trích từ tổ khúc dành cho dàn nhạc “The Planets” (Tác phẩm số 32) của nhà soạn nhạc Gustav Holst vào năm 1914-1916.

Movement II of "The Planets" by Gustav Holst, Venus, the Bringer of Peace. Performed by the U.S. Air Force Heritage of America Band in a transcription by Merlin Patterson, edited by Capt. Lang and MSgt Aldo Forte for their 1998 C.D. Frontiers El 2° movimiento, “Venus, The Bringer Of Peace”, de la suite orquestal “The Planets” (Los planetas, op. 32) compuesta por Gustav Holst entre 1914 y 1916. Veinte años hace, el 10 de agosto de 1990, la sonda Magallanes entró en órbita alrdedor del planeta Venus. La misión mapeo en detalle la superficie del planeta - perennemente envuelta en una densa masa de nubes- mostrando algunos de sus secretos. Italiano: Il 2° movimento, “Venus, The Bringer Of Peace”, della suite orchestrale “The Planets” (I pianeti, op. 32) composta da Gustav Holst nel 1914-1916. Vent'anni fa, il 10 agosto 1990, la sonda Magellano entrò in orbita attorno al pianeta Venere. La missione mappò in dettaglio la superficie del pianeta - perennemente avvolta da una densa coltre di nubi - svelando alcuni dei suoi segreti. Македонски: Став II: „Венера, носител на мирот“ од оркестралната свита „Планети“ (Оп. 32) од Густав Холст (1914-1916). На денешен ден пред точно 20 години сондата Магелан влезе во орбитата на Венера и изработи подробни слики на нејзината површина, разоткривајќи ги нејзините тајни. Português: "Venus, The Bringer Of Peace", o segundo movimento da suíte "The Planets" (Op. 32), composta por Gustav Holst entre 1914 e 1916. Vinte anos atrás, em 10 de agosto de 1990, a sonda espacial Magalhães adentrou a órbita do planeta e foi bem-sucedida em mapear a sua superfície.

Johann Sebastian Bach (1685-1750) Cantata BWV 125: Mit Fried und Freud ich fahr dahin (2 February 1725) 1. Mit Fried und Freud ich fahr dahin (Chorus) 2. Ich will auch mit gebrochnen Augen (Aria: A) 05:27 3. O Wunder, daß ein Herz (Recitative: B) 13:19 4. Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden (Duet: T, B) 15:36 5. O unerschöpfter Schatz der Güte (Recitative: A) 20:55 6. Er ist das Heil und selig Licht (Chorale) 21:37 Soloists: Alto: Ingeborg Danz Tenor: Mark Padmore Bass: Peter Kooy Performed by Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1998. "Bach composed the cantata 'Mit Fried und Freud' for the feast of the Purification on 2 February 1725. Here, the opening chorus is in 12/8 time, which is almost always associated with a peaceful, pastoral mood. Here it is the expressive key of E minor, which, raised to monumental heights, will re-appear in the opening chorus of the St. Matthew Passion. The chorale is sung in long note values by the soprano accompanied by the lower voices of the chorus in densely textured imitation, and which takes up the serenely elegiac movement of the instrumental ritornello theme. Only twice does Bach interrupt the pattern: at the words 'sanft und stille' all the voices drop into a sudden 'piano' and even the lively rhythm of the vocal part gives way to a more tranquil measure. The contrast of the 'forte' on the next words, 'wie Gott mir verheißen hat' is all the more convincing in relation to the preceding words. Once again Bach leads the vocal part into a quiet, even tenor for the final line of the chorale, 'der Tod ist mein Schlaf worden.' " - Thomas Seedorf Painting: Still Life with Three Medlars, Adriaen Coorte

Wo ist doch (a cantata) by Dieterich Buxtehude, performed live by self. Text/lyrics Soprano Wo ist doch mein Freund geblieben? Will Er mich denn nicht mehr lieben? Er hat sich in dieser Nacht, da ich aus dem Schlaf erwachte und an seine Huld gedachte, aus dem Bette weggemacht. Ach ich habe den verloren, den ich einzig mir erkoren! Ach, ich habe nicht betrübt! Er ist der, der mir gefallen, darum soll mein Stimm erschallen: Soprano/Bass Schönste(r), wo befindst du dich? Soprano Hör ich doch des Freundes Worte! Ruft Er nicht an diesem Orte? Soprano/Bass Schönste(r), wo befindst du dich? Bass Du hast mir das Herz genommen, Vielgeliebte! Soprano Ich will kommen, eile fort, erfreue mich! Komm, mein Freund, in meinen Garten! Bass Willst du mich daselbst erwarten? Sieh, ich steh schon vor der Tür, sieh, ich komme, meine Taube, denn dein wohlgegründter Glaube zeucht und neigt mich hin zu dir. Soprano Wenn du unter deinem Schatten mir die Ruhe willst gestatten, dann so ist mir ewig wohl. Soprano/Bass Ich lieb dich, weil du mich liebest und dich mir zu eigen giebest. Nichts ist, das uns scheiden soll. Soprano Du bist, Schönster, meine Sonne. Bass Dir ist schon die süsse Wonne und die Ruh von mir bereit. Soprano/Bass Komm mein Schatz, lass mich dich küssen, denn so kannst du mir / kann ich dir versüssen, alles Leidens Bitterkeit. Soprano Endlich hab ich den gefunden, den ich lieb, meine Freude. Bass So ist verschwunden dir die schrekkensvolle Zeit, weil ich dein bin, meine Freude. Soprano/Bass Komm nach dem gehabten Leide hin, wo dir das Herz/ die Freud bereit. So lieben die Seele und Jesus zusammen. Sie lieben beständig, man scheidet sie nicht. Sie brennen und stehen in lieblichen Flammen, die Seele vergnügt sich in seligem Licht. Wir sehnen uns alle mit Herzens Verlangen, wann werden wir einsten dich, Jesu, umfangen?