4.292 file audio bebas royalti untuk "Midi"

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.

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

Anfang des zweiten Satzes aus Beethovens Opus 109

6/8 clave, third form (rumba clave)

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

Brahms's hungarian dance arranged to create gloomily atmosphere.

Random chords, created with midi akai keys on garageband.

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

Habanera tresillo rhythm for comparison with 3:2 polyrhythm.

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

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.

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.

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

6/8 clave, first form (standard pattern)

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.

*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

A simple beat at 100 bpm. Written and recorded using cakewalk by band lab and a midi controller.