5.624 file audio bebas royalti untuk "Sample And Hold"

Pedal tone in Bach's Prelude no. 6 in D Minor, BWV 851, from The Well Tempered Clavier, Book I, m.1-2

Erl King - Berlioz version for audio replacement

Mussorgsky, the Hut on Fowl's legs

Cloches a travers le feuilles

Wagner, Tristan Prelude, opening

Minor version of the theme

Coronation scene from Boris Godunov

Erlkonig, arrangement by Berlioz

Ravel Quartet, second movement

Carissimi from Jephtha

Siegfried's Horn Call

This file has no description, and may be lacking other information. Please provide a meaningful description of this file.

Solo piano statement of theme in the cadenza

March to the Scaffold bars 1-4 for audio

*Hundred-seventeenth subharmonic on C = D-. Just: 128/117 = 155.56 cents. Limit: 31-limit. MIDI pitch bend: 99,49

Making shift register with sample and hold modules!.

King Numpty and his Knights (Part 2) by TRG Banks

King Numpty and his Knights (Part 1) by TRG Banks

Primary triad in C in just intonation. Created by Hyacinth (talk) 11:17, 22 December 2011 (UTC) using Sibelius 5.

Home Sweet Home

Harmonic Scale chromatic on C.

Random tones generated with modular synth. The randomness is generated with a sample and hold and some "old school tricks". The reverb is ladik r-330.

Variant of the Habanera rhythm.

Ivor's Shop by TRG Banks

One example of imperfect consonances previously considered dissonances in Guillaume de Machaut's "Je ne cuit pas qu'onques".

Habanera tresillo rhythm for comparison with 3:2 polyrhythm.

Lifeling by TRG Banks

Chopin Nocturne in F minor

Octatonic bars from Sarabande from English Suite No 3

Habanera rhythm.

Habanera rhythm (tresillo) and 3:2 polyrhythm alternating for comparison.

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

Cuerdas al aire de un charango Richter (temple natural: 1º mi, 2º la, 3º mi, 4º do, 5º sol).

Phrase segments in Beethoven Opus 68 I

Sunday modular beat. How strange can you go. . .

*Six-hundred-ninety-seventh harmonic on C = E♯. Just: 697/512 = 534.02 cents. Limit: 41-limit. MIDI pitch bend: 113,74

*Eight-hundred-forty-fifth harmonic on C = A♭. Just: 845/512 = 867.37 cents. Limit: 5-limit. MIDI pitch bend: 71,53

*Six-hundred-fifty-first harmonic on C = E+. Just: 651/512 = 415.82 cents. Limit: 13-limit. MIDI pitch bend: 7,69

*68921st harmonic on C = B♯. Equal-tempered: 268921/65536:1 = 87.19 cents. Limit: 41-limit. MIDI pitch bend: 115,59

*Hundred-twenty-seventh harmonic on C = ?. Just: 127/64 = 1186.42 cents. Limit: 41-limit. MIDI pitch bend: 84,91 on M7

I use a voltage controlled lfo (vclfo) for this experiment. When i send a trigger to the lfo it resets and start over again. In this example i'm using a sinus wave output. I send the output, the sinus wave, to1 - a sample and hold (s/h) module2 - a quantizer3 - straight to vco. The s/h and the quantizer are triggered at the same time. Even an envelope a generated with the same trigger. All three sounds are controlled by this envelope. First out we have s/h (left)second straight to vco (right)third the quantized (center). As usual its fun to take a real close look at the wave!.

Rumba Clave Pattern in triple time.

Holberg Suite, prelude, bars 1-2, piano version

6/8 clave, third form (rumba clave)

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Wohlbekannte Melodie mit Oktavsprüngen

Debussy, from 'General Lavine - eccentric'

Holberg Suite, prelude bars 31-4 string version