925 로열티 프리 오디오 트랙들 "Second"에 대한

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in first inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is first-root-first-second/first-root-first-second-first)

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in root position and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is root-second-root-first/root-second-root-first-root)

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the second piece in a set of three published in 1893, and the second piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Chord progression with a borrowed chord second: v or Gm in C major.

C major triads played on piano: 1) root position, 2) first inversion, 3) second inversion

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Chord progression with a borrowed chord second to last: iv or Fm in C major.

Stop-time in Dan Emmett's "Aunt Dinah's Wedding Dance" (1895) second break down strain

Šárka, the second from Bedřich Smetana's set of six symphonic poems Má vlast

Simple countdown from 5 in a neutral male accent. Recorded using a neumann tlm102 and focusrite scarlett 8i6recorded by https://www. Britishmalevoiceoverartist. Com june 2021. Not to be used in any political or extremist production.

Vltava (The Moldau), the second from Bedřich Smetana's set of six symphonic poems Má vlast

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

Start of second subject (D major) of Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 13–16.

An augmented fifth in just temperment. The first tone is a sine wave of 300Hz, the second is 468.75 Hz, the third is the interval. Made with NCH tone generator

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

Piano Sonata No. 8 (Beethoven) second movement (Adagio cantabile) 12 KB, 5:03 minutes

Diagonal barre chord: major seventh chord on G. The first finger fingers both the second fret on the first four strings and the third fret on the sixth string.

Traditional algerian music (Bedoui / Rai) 'aroubi "Goul Le Si Mohamed" (second part)

Music example illustrating counterpoint style of Rennaissance composer Josquin des Prez, especially paired motivic imitation. First bars of second part of Psalm motet Domine ne in furore (Ps. 37).

Somewhat restored version of a 36-second wax cylinder recording of what is thought to be Whitman's voice reading the first four lines of his poem "America".

The second piece in the surviving fragments of Mozart's first compositions; from the Nannerl Notenbuch.

Die Wetterfahne, second lied du recueil Winterreise de Franz Schubert sur un poème de Müller. Par le baryton viennois Hans Duhan

Melodic sequence in "God Save the King". The pitches of the first line, "Send him victorious," are repeated, but lower, in the second line, "Happy and glorious,".

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

A sound file playing the interval of an augmented fifth, in equal temperment. The first tone is a sine wave at 300 Hz, the second is at 476.1 Hz, the last is the interval. Made with NCH Tone generator.

Theta Drumming (percussion instruments) Genre: Simple rhythms Tempo: c. 4 beats per second (w:Theta waves)

Example of dissonance in Bach's Well-Tempered Clavier, Vol. I (Preludio XXI). The chord in question was pointed out in: Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. Presumably Marquis is the source of the tempo, dynamic, and, in the second measure, arpeggiation.

The second movement of the suite Looking Upward by John Philip Sousa, "Beneath the Southern Cross", played by the U.S. Marine Band for the album Semper Fidelis: Music of John Philip Sousa

Fort denn eile (Fly them swiftly). From Die Walküre, second of the four operas of the Ring cycle by Richard Wagner. Act 3. Sung by Johanna Gadski, conducted by Josef Pasternack.

File:Daisy_Bell_sung_by_Edward_M._Favor.ogg, click removal (default settings) and light noise removal (using last 0.5 second as sample, settings 12db/5.0/2 bands) applied in Audacity 3.1.2.

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C♮ to C♯ between the second and third chords. Note that there is no common chord.

Piano accompaniment from Franz Schubert's lied "Der Wanderer" D.493, second couplet (Die Sonne dünkt ... Ich bin ein Fremdling überall) Accompagnement au piano du deuxième couplet du lied Der Wanderer D.493 de Franz Schubert (Die Sonne dünkt ... Ich bin ein Fremdling überall)

The second movement of Maurice Ravel's String Quartet, played by string players of the United States Army Band

Aziziye Marşı or the March of Sultan Abdülaziz was the second de jure national anthem of the Ottoman Empire and Turkey. This national anthem was used by Sultan Abdülaziz during 1861 – 1876 Türkçe: Aziziye Marşı, Osmanlı İmparatorluğu'nun ikinci milli marşıydı. Sultan Abdülaziz tarafından kullanılmıştır.

Grosse Fuge Opus 133 by Ludwig von Beethoven, recorded by the Lener Quartet in 1919. First published recording of this piece. Jenö Léner (or Lehner), first violin, Joszef Smilovits second violin, Sándor Roth viola and Imre Hartmann cello. Recorded on the Columbia label (in 78 RPM format).

Performance of "Patriotic Song" by Glinka at the Second (Extraordinary) Session of the Congress of People's Deputies of the Russian Soviet Federative Socialist Republic,on November 27,1990,at Kremlin.

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C to C between the second and third chords. Note that there is no common chord.

This track is a stem (individual track) from Mesostic's "Happy Happy HardPopCoreTastic". The whole track is available on Wikimedia commons and this stem is provided to assist with remixing, extending, and so on. Here's the complete song->> Happy Happy HardPopCoreTastic This is stem 3, the second piano chords line.

Billy Murray sings "You're a Grand Old Flag". This recording contains the second of three sets of lyrics written for the song. ("You're a grand old flag, tho' you're torn to a rag...")

Carl Maria von Weber - Sonates pour violon et piano-forte, op.10 (n°1, deuxième mouvement) interprété par Fritz Kreisler et Michael Raucheisen (1930). Carl Maria von Weber - Sonata for violin & piano, op.10 (n°1, second movement) played by Fritz Kreisler and Michael Raucheisen (1930).

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).

10 beats in 2/4 versus 5/4 and 15 beats in 3/4 versus 5/4. Multiples of two divide 2/4 evenly, and multiples of three divide 3/4 evenly (neither depiction requires ties), but neither divides 5/4 evenly (both depictions require ties). At, say, quarter note = 150 bpm and quarter note = 225 bpm, respectively, the first pair and the second pair are identical.

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).

Performance of "Patriotic Song" by Glinka at the Second (Extraordinary) Session of the Congress of People's Deputies of the Russian Soviet Federative Socialist Republic,on November 27,1990,at Kremlin.