387 Royalty-Free Audio Tracks for "All Interval Twelve Tone Rows"

Twelve bar blues in C, block chords.

Standard Walking bass of a Boogie

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

The most common or standard 12-bar blues progressions variations, in C.(Benward & Saker 2003, 186). Created by Hyacinth (talk) 06:08, 14 July 2011 (UTC) using Sibelius 5.

Twelve bar blues in B, block chords. Created by Hyacinth (talk) 09:25, 17 December 2010 using Sibelius 5.

Webern's String Quartet Op. 28 tone row, composed of three tetrachords: P I RI, with P = the BACH motif.

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

Example for a simple straightforward walking bass line over a 12-bar blues scheme

Two examples of tone-cluster notation as first used by Henry Cowell.

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

The intro to L'Isle Joyeuse, by Claude Debussy. Created by Hyacinth (talk) 06:38, 19 January 2012 (UTC) using Sibelius 5.

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

A recording that shows the effect of a Shepard tone

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving. (fo7 to G-flat)

Dominant form chord: Diminished leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Diminished seventh chord to dominant cadence (bo-e7-A7-D).

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

1918 recording of "Love, Here Is My Heart" ("Mon Coeur est pour Toi") with violinist Herbert Soman and pianist F. Burckhardt. (Edison Blue Amberol 3409)

All mein Gedanken, die ich hab

Extract from Chalres-Valentin Alkan's 'Esquisses', no. 45, published 1861 in Paris.

Janacek Sinfonietta 2nd movement, opening bars

Nederlands: demo kwarttonenquartertones

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

C6add9 chord.

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Theme to Paganini's Caprice No. 24 for violin.

Kommt her, ihr Kreaturen all, Lied zur Sakramentsverehrung

viio/V - V - I chord progression. Common in ragtime.

Secondary leading tone in Beethoven Sonata in C for piano Op. 53, first movement.

Interpret: Alexander Brailowsky (1896-1976) Titel: Rondo a Capriccio in G major, op.129 Komponist: Ludwig van Beethoven (1770-1827) Aufnahmedatum: 1938 Erstveröffentlichung: 1938

Diminished seventh chord on B.

The opening theme to Rimsky-Korsakov's Scheherazade is, "simply a descending whole-tone scale with diatonic trimmings." See Abraham, Gerald. "The Whole-Tone Scale in Russian Music", p.602, The Musical Times, Vol. 74, No. 1085. (Jul., 1933), pp. 602-604.[non-whole-tone scale notes in red].

Dominant seventh raised ninth vs dominant seventh split third chord.

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

Common-tone diminished seventh chord.

Ah je vous dirai maman Var 7

Ah je vous dirai maman Var 5

Ah je vous dirai maman Var 8

Ah je vous dirai maman Var 1

Wir glauben all an einen Gott (Evang. Gesangbuch 183)

Performer: Philadelphia Orchestra Title/Work: Scheherazade Opus 35 (Rimski-Korsakow) Content: No.01: 1st Movement: Largo e maestoso-Lento-Allegro non troppo (Part 1) Composer: Nikolai Rimsky-Korsakov (1844-1908) Conductor: Leopold Stokowski (1882-1977) Genre: Symphonic poem First recording date: 12 November 1934 First release date: 1935

Beispiel einer Shepard-Tonfolge; Scheinbar unendlich tiefer werdender Ton Example for a Shepard tone

All harmonics from 16 to 32 as a tone cluster, primarily of seconds, then arpeggiated.

Leading-tone half-diminished seventh chord as dominant in Mozart, Piano Sonata in D Major, III (end of Variation V), K. 284, mm.14-17.