4 292 zvukové soubory bez licenčních poplatků pro "Midi"

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.

6/8 clave, second form (son clave)

8-28 (octatonic scale) octachord on C

Leck mich im Arsch

12-1 (chromatic) dodecachord on C

Fifth Symphony, opening, known as the "fate" motif.

Heavy metal gallop rhythm as drum pattern.

*1 step in 17 equal temperament on C = D♭ (Easley Blackwood's notation). Equal-tempered: 21/17:1 = 70.59 cents. MIDI pitch bend: 75,54 17 tone equal temperament is the tempered scale derived by dividing the octave into 17 equal steps (equal frequency ratios). Each step represents a frequency ratio of 21/17, or 70.6 cents.

This is the typical arcade sound. Enjoy it :)software: cubase 5(midi file).

Sine melody, midi looper n a bit of spring reverb. Maybe useful for background padding.

6/8 clave, third form (rumba clave)

D chord in drop D tuning.

Shuffle pattern with staggered thirds played on piano.

Most common "blues scale".

3/4 drum pattern.

Anfang des zweiten Satzes aus Beethovens Opus 109

Slendro vs whole tone scale on C

Minor major sixth chord on C.

Primay triads in c, as MIDI

ii-V substitution.

Major triad on F in first inversion

Loch Lomond (song)

In a triadic context chords with omitted thirds may be considered "indeterminate" triads.

Double harmonic scale on C

The Queen of Hearts, 18th-century melody ([1])

4-21 (whole-tone) tetrachord on C

6-35 (whole-tone) hexachord on C

5-2B pentachord on C. Inverted version of 5-2A

6-2B hexachord on C. Inverted version of 6-2A.

A 130 bpm loop using synths i made in vital. The chord progression is i-iv-vii-v.

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

Brahms's hungarian dance arranged to create gloomily atmosphere.

*Greater undecimal neutral second on C = D↑♭- (Ben Johnston's notation). 11/10 = 165 cents. Limit: 11-limit. MIDI pitch bend: 103,84 on m2

*Difference between 31:16 (B: 1145.04 cents) & 15:8 (B: 1088.27 cents) on C = C (Ben Johnston's notation). Just: 31 : 30 = 56.77 cents. Limit: 31-limit. MIDI pitch bend: 21,82 on PU

*Just augmented second (75th harmonic) on C = D♯ (Ben Johnston's notation). 75:64 = 274.58 cents. Limit: 5-limit. MIDI pitch bend: 111,55

*6 steps in 15 equal temperament on C = E♮ (Easley Blackwood's notation). Equal-tempered: 26/15=2/5:1 = 480 cents. MIDI pitch bend: 76,89 on a M3

*Bohlen-Pierce scale: interval between C and F, lesser septimal tritone on C = F. Just: 7/5 = 582.51 cents. Limit: 7-limit. MIDI pitch bend: 52,58

*Just diatonic semitone on C = D♭- (Ben Johnston's notation). Just: 16:15 = 111.73 cents. Limit: 5-limit. MIDI pitch bend: 79,67 Created in Sibelius.

*Tridecimal semitone on C. Just: 14:13 = 128.30 cents. Limit: 13-limit. Created in Sibelius with midi pitch bend on 73 for 128.125 cents rather than 128.30. New version a m2 on 7,73 for 128.2958984375 cents rather than 128.30.

*Neutral second/three-quarter tone on C = D. Equal-tempered: 21/8=3/24:1 = 150 cents. MIDI pitch bend: 0,48 Preceded by:File:Quarter tone on C.mid

Zu Bethlehem geboren, Gotteslob (2013) 239; Gotteslob (1975) 140; Evangelisches Gesangbuch 32

*Bohlen-Pierce scale: interval between C and J on C = J. Just: 15/14 = 119.44 cents. Limit: 7-limit. MIDI pitch bend: 29,70