4 292 zvukové soubory bez licenčních poplatků pro "Midi"

*Thirty fifth harmonic on C = D. Just: 35/32 = 155.14 cents. Equal-tempered: 23/24:1 = 150 cents. Limit: 7-limit. MIDI pitch bend: 83,81 on m2

*Lesser 47-limit fifth tone on C = C (Ben Johnston's notation). Just: 48/47 = 36.45 cents. Limit: 47-limit. MIDI pitch bend: 84,75

*Hundred-seventy-fifth harmonic on C = F♯+ (Ben Johnston's notation). Just: 175:128 = 541.45 cents. Limit: 7-limit. MIDI pitch bend: 33,45

Georg Philipp Telemann: Ich will den Herrn loben allezeit, Kanon zu 3 Stimmen, TWV 10:8

*3 steps in 17 equal temperament on C = D♮ (Easley Blackwood's notation). Equal-tempered: 23/17:1 = 211.76 cents. MIDI pitch bend: 98,67

Johann Sebastian Bach, Kantate Höchsterwünschtes Freudenfest (BWV 194), Schlusschoral Sprich Ja zu meinen Taten

Vom Himmel hoch, da komm ich her, Gotteslob (2013) 237

*Sixty-third harmonic on C = C+. Just: 63/32 = 1172.74 cents. Equal-tempered: 212/12:1 = 1200 cents. Limit: 7-limit. MIDI pitch bend: 35,87 on 1100

*Greater 41-limit fifth tone on C = C (Ben Johnston's notation). Just: 41:40 = 42.75 cents. Limit: 41-limit. MIDI pitch bend: 87,77

Regular diatonic tuning 31-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS.

*Hundred-eighty-ninth harmonic on C = G+ (Ben Johnston's notation). Just: 189:128 = 386.31 cents. Limit: 7-limit. MIDI pitch bend: 115,87 on TT

*Lesser 43-limit fifth tone on C = C↑ (Ben Johnston's notation). Just: 44/43 = 39.80 cents. Limit: 43-limit. MIDI pitch bend: 94,76

*Greater 43-limit fifth tone on C = C- (Ben Johnston's notation). Just: 43/42 = 40.74 cents. Limit: 43-limit. MIDI pitch bend: 4,77

*35 steps in 36-et on C = ??. Equal-tempered: 235/36=70/72:1 = 1166.67 cents. MIDI pitch bend: 42,53

Beta scale dominant seventh chord on C. Created by Hyacinth (talk) 07:35, 12 April 2011 (UTC) using Sibelius 5 with midi pitch bend. Pitch bend appears to match intervals.

Однозвучно гремит колокольчик Einsam läutet das Glöckchen

Suspended fourth chord on C in first inversion.

7-2B heptachord on C. Inverted version of 7-2A.

4-25 (French sixth) tetrachord on C

Major triad on C in first inversion.

Major triad on F in second inversion

Santa Lucia Sul mare luccica (song)

MIDI by the Mutopia Project

3-1 trichord on C: [0,1,2]. Chromatic trichord.

Os escravos de Jó

C altered scale.

Hi-hat "crescendo" from closed to open leading to the ride cymbal.

Persian scale on C.

Wo die Nordseewellen (Ostseewellen)

3-2 Son Clave Pattern in duple time.

Schleswig-Holstein, meerumschlungen

Adagio-Thema des ersten Satzes aus Beethovens Opus 109

Anfang des dritten Satzes aus Beethovens Opus 109

An example of an bad generation to supplement the paper, transformer neural networks for automated rhythm generation.

Random chords, created with midi akai keys on garageband.

Nobody Knows the Trouble

O Maria, gnadenvolle

Characteristic rock drum pattern with rimshot in place of snare

9/8 drum pattern.

4-2B tetrachord on C. Inverted version of 4-2A.

Example of an altered chord progression in jazz.

Habanera tresillo rhythm for comparison with 3:2 polyrhythm.

8-2B octachord on C. Inverted version of 8-2A.

Fifteenth chord from Schoenberg on C

Aeolian mode on A. No pitch bend.

Rock o' my soul in the bosom of Abraham

Major triad on C in second inversion.

6/8 clave, first form (standard pattern)

3:2 polyrhythm for comparison with the Habanera tresillo rhythm.

Tone row from Stockhausen's Klavierstück IX.