4,488 로열티 프리 오디오 트랙들 "Prelude (or Other Movement) And Fugue"에 대한

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

*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

Johann Sebastian Bach's Toccata, Adagio and Fugue in C major, BWV 564, in a transcription by Thomas Knox of the U.S. Marine Band, played by the U.S. Marine Band for the album Marine Band Showcase, Volume 2.

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

Wohlbekannte Melodie

Debussy, the Snow is Dancing, Bars 34-38

Melodie.linear + Melodie.salical gleichzeitig

{{ennoin divisive form. Created by Hyacinth (talk) 05:09, 4 February 2012 (UTC) using Sibelius 5.}}

Rumba Clave Pattern in duple time.

Son Clave Pattern in triple time.

6/8 clave, second form (son clave)

langsamere Variante der authentischen Kadenz

6/8 clave, first form (standard pattern)

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).

Standard bell pattern.

Habanera rhythm in the bass (cello) from the "Habanera" aria in Carmen.

Campana (Spanish: "bell") bell pattern below a 2-3 clave rhythm.

clave pattern in 5/2

clave pattern in 7/4

The musical rhythm known as son clave. My own work, on 2006-01-08, and public domain.

The A440 (A above middle C) tone, which is used as a general tuning standard for musical pitch. It is also broadcast by WWV, the radio station of the National Institute of Standards and Technology.

Franck Violin Sonata first movement, bars 1-8

Deutsch's scale illusion. Two complex melodies are played, first separately from separate channels, then simultaneously.

Holberg Suite, Prelude bars 31-4 piano version

Modulations from C major to C sharp major in natural temperatures (just intonation) end at almost the same pitch although there should be a half-tone difference.

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).

Claude LeJeune, Revoici venir du printemps

3-2 Son Clave Pattern in duple time.

Holberg Suite prelude bars 1-2 string version

*Johnston , difference between 5:3 (A) and 53:32 (A) on C = C. Just: 160/159 = 10.85 cents. Limit: 5-limit. MIDI pitch bend: 60,67

*Septimal supermajor seventh on C = C. Just: 35 : 18 = 1151.23 cents. Limit: 7-limit. MIDI pitch bend: 50,80 on M7

Supermajor sixth on B7b. Created by Hyacinth (talk) 20:20, 19 March 2011 (UTC) using Sibelius 5.

Excerpt from the second movement of the concerto poloniosy by Georg Philipp Telemann

Prelude in C-sharp minor, Op. 3, composed and performed by Sergei Rachmaninoff. This is Edison Diamond Disc 82187-R, Matrix 6742-C-2-3 [2-1]. Recorded in 1919, released in December 1920. Українська: «Прелюдія до-дієз мінор», написана і виконана Сергієм Рахманіновим, випущена в грудні 1920 року.