337 Royalty-Free Audio Tracks for "B Minor"

Recorded with my epi sg through the focusrite interface and walrus slo pedal on dream setting. Edited with reaper and thanks to kenny gioia for the tips. Use it as you like and please comment on what you may use it for. Thanks. :-).

The symmetry of Webern's tone row from Variations, Op. 30, is apparent from the equivalent, P1=IR1 and R12=I12, and thus reduced number of row forms, two, P and R, plus transpositions. Consisting of three related tetrachords: a and c consisting of two minor seconds and one minor third and b consisting of two minor thirds and one minor second. Notes 4-7 and 6-9 also consist of two minor seconds and one minor third. Created by Hyacinth (talk) 23:25, 19 October 2010 using Sibelius 5.

Italiano: Symphony No. 6 in B minor, Op. 74, "Pathétique" III. Allegro molto vivace

Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.

Italiano: Symphony No. 6 in B minor, Op. 74, "Pathétique" IV. Finale- Adagio lamentoso

Italiano: Symphony No. 6 in B minor, Op. 74, "Pathétique" II. Allegro con grazia

This is one afternoon jamming on my martin d1¸b minor penthatonic. Every musician starts to shit out in a same way when grab guitar. Or any instrument. This is one of my shits. Free to use. Like if u send me a result :-).

Piece of backing vocals from my new song, dropping on soundcloud soon. Key of bm, 80 bpm. Notes are b,a, a, f#.

A short loop, at about 54 bpm. Starting note is a b. Minor-ey, dusky, but clean sound. Finished it 10+ years ago and never did anything with it.

Bach's "overture (suite) no. 2 in b minor bwv 1067: vii. Badinerie" converted into an 8-bit, chip-tune ringtone. It makes a perfect loop, so it is great for call ring-tone.

C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.

Italiano: Symphony No. 6 in B minor, Op. 74, "Pathétique" I. Adagio - Allegro non troppo

Italiano: Ouverture-Fantasia in Si minore Romeo e Giulietta di Čajkovskij Overture-Fantasy B minor Romeo and Juliet by Tchaikovsky

The romantic theme from the first movement of the Pathétique

Symphony no. 9 in e minor 'From the new world', op. 95 - i. adagio - allegro molto 9. Sinfonie e-Moll op. 95 (B 178) “Aus der Neuen Welt”

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

*Two-hundred-thirty-first harmonic on C = B↑♭. Just: 231/128 = 1022.10 cents. Limit: 11-limit. MIDI pitch bend: 9,71

*Hundred-seventeenth harmonic on C = B♭. Just: 117/64 = 1044.44 cents. Equal-tempered: 28/12:1 = 800 cents. Limit: 13-limit. MIDI pitch bend: 28,78

*Fifty-seventh harmonic on C = B♭. Just: 57:32 = 999.47 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 19-limit. MIDI pitch bend: 106,95 on M6

*Hundred-twenty-first harmonic on C = B↑↑♭-. Just: 121:64 = 1102.64 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 11-limit. MIDI pitch bend: 108,64

This is a chord loop at 74 bpm it bounces back and forth between b minor and a major (key of a major). This sound was recorded using propellerhead reason 7. 1 via a motu 828 mkiii on 7/12/2014 the synth used is my korg polysix. Enjoy.

5 seconds of the kyrie in bach mass in b minor in make noise phonogene sampler, played through a delay fx (space hole) in zoom ms-70-cdr. Admit i added some noise too.

B minor rock bass groovehttps://www. Grdmusic. Com.

Musical scale called "Ishartum" by Lou Harrison, often called the "Flamenco mode", in Pythagorean tuning on E, as follows: (by fifths) F-, C-, G-, D-, A, E, B (F♯+, C♯+, G♯+, and D♯+), or (in order) E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- (128/81), D (16/9), E (2/1), with G♯+ being 81/64 and D#+ being 729/512. The final F- has an augmented sixth chord, B7b5/F (B D# F A), which resolves to a major chord that touches on the minor third.

5 seconds of the kyrie in bach mass in b minor in make noise phonogene sampler, played through a reverb fx (particle reverb) in zoom ms-70-cdr. Admit i added some noise too.

Symphony no. 9 in e minor 'from the new world', op. 95 - iv. allegro con fuoco. Čeština: Symfonie č. 9 "Z Nového světa", Op. 95, poslední symfonie skladatele Antonína Dvořáka z roku 1893. The Symphony No. 9 in E minor, "From the New World", Op. 95, B. 178, popularly known as the New World Symphony, was composed by Antonín Dvořák in 1893. Македонски: Симфонија бр. 9 во е-мол „Од Новиот Свет“ (1893) од Антонин Дворжак. Symfonia nr 9 e-moll „Z Nowego Świata”, op. 95, część IV. Allegro con fuoco skomponowana przez Antonína Dvořáka w 1893 roku.

Snippets from recordings of me playing the tanpura. The strings are tuned to b, d, g and e, so would work well in the keys of g or e minor. I noticed that my first pack of tanpura samples has a bit of fuzzy white noise so in this pack i have equalized - i reduced all the very high frequencies which got rid of most of the white noise without affecting the low frequency sounds of the tanpura itself. Please note this is the tanpura part of an instrument called the swar sangam which combines the swarmandal (indian harp) and the tanpura, it is not a traditional tanpura and does sound slightly different.

Goin' Home (Symphony No. 9 in E Minor, Op. 95, B. 178, "From the New World": II. Largo) performed by the Concert Band of the United States Air Force Band. Track 21 from Heritage to Horizons (2007). Previously published as track 52 from Esprit de Corps (1997).

A set of orchestral hits with different instrumentations. The chord c minor is played. A: full orchestra with cymbals and bells (*1)b: full orchestra without cymbals and bellsc: no untuned percussiond: col legno strings (*2)e: no woodwindsf: no brassg: no percussionh: only brass & percussioni: only woodwinds and percussionj: only strings and percussionk: only col legno strings and percussionl: only strings and woodwindsm: only strings and brass. (*1) the cymbals tend to sound weird when you change the pitch (in my opinion) so all other samples don't use them. (*2) col legno is when the strings are hit with the wooden back of the bow. These are very dry samples with no additional reverb or any other processing.

Danse macabre by Saint-Saëns performed by the Philadelphia Symphony Orchestra under Leopold Stokowski. "Record date is 4/29/1925, with master numbers CVE-27929 and CVE-27930. Also, the subtle "VE" stamp reveals this to be an early electrical recording. It doesn't have quite the brilliance of the 1927 and -28 Victor productions, but still captures the violins nicely. Victor 6505-A and B, concatenated from the original 2 sides."

Johann Sebastian Bach (1685-1750) Cantata BWV 125: Mit Fried und Freud ich fahr dahin (2 February 1725) 1. Mit Fried und Freud ich fahr dahin (Chorus) 2. Ich will auch mit gebrochnen Augen (Aria: A) 05:27 3. O Wunder, daß ein Herz (Recitative: B) 13:19 4. Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden (Duet: T, B) 15:36 5. O unerschöpfter Schatz der Güte (Recitative: A) 20:55 6. Er ist das Heil und selig Licht (Chorale) 21:37 Soloists: Alto: Ingeborg Danz Tenor: Mark Padmore Bass: Peter Kooy Performed by Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1998. "Bach composed the cantata 'Mit Fried und Freud' for the feast of the Purification on 2 February 1725. Here, the opening chorus is in 12/8 time, which is almost always associated with a peaceful, pastoral mood. Here it is the expressive key of E minor, which, raised to monumental heights, will re-appear in the opening chorus of the St. Matthew Passion. The chorale is sung in long note values by the soprano accompanied by the lower voices of the chorus in densely textured imitation, and which takes up the serenely elegiac movement of the instrumental ritornello theme. Only twice does Bach interrupt the pattern: at the words 'sanft und stille' all the voices drop into a sudden 'piano' and even the lively rhythm of the vocal part gives way to a more tranquil measure. The contrast of the 'forte' on the next words, 'wie Gott mir verheißen hat' is all the more convincing in relation to the preceding words. Once again Bach leads the vocal part into a quiet, even tenor for the final line of the chorale, 'der Tod ist mein Schlaf worden.' " - Thomas Seedorf Painting: Still Life with Three Medlars, Adriaen Coorte

Created by divkid for use in the make noise soundhack morphagene. There are dry-only, fx-only, and mix versions of this reel in the pack. See it in action at https://youtu. Be/rk4ufmfcouc. Patch walkthrough. The patch starts with the qu-bit chance providing discrete random values (sample and hold) going into an instruo harmonaig. This takes the stepped random voltages and quantizing them to a given scale. I put in the notes c d eb f g ab bb which is a c natural minor scale, the relative minor of eb major (for anyone that's curious). However like most of my modular work i didn't actually tune the oscillators to anything specific. So treat the scale as a pattern of intervals not a set of specific notes. The quantized notes then form 4 voice chords giving us a root, third, fifth and seventh cv output that will be diatonic following the scale pattern, meaning the third will be major or minor, the seventh major, minor or dominant and the fifth natural or diminshed to suit the scale. With the 4 quantized outputs on the harmonaig these all go into the four oscillators on the synthesis technology e370 quad morphing vco. Each of the e370 oscillators are in the basic morph xy mode using the built in rom b set of wavetables. Wavetables are modulating by various mixes of the befaco rampage, mutable instruments tides, wmd multimode envelopes and music thing modular turing machine. The modulation sources are mixed and split with multiples and mixers. These modulating wavetables then go into a bubblesound vca4p where i'm using 4 mk1 intellijel dixie oscillators all un-synced and free running with sine wave lfos. Each lfo freely fades the voice in and out of the vca4p. As this is unsynced there's no regard to pitch changes linked to changes in amplitude and the swells. I find splitting the gate/rhythm from pitch regarding sequencing to be a freeing and interesting way to work that's not available on traditional instruments. This is just a simple application of that idea with the lfos fading freely unrelated to the other modulation or sequencing of pitch. The sound then goes from the vca4p mix out into a befaco mixer and praxis snake charmer which the output section of the larger case and i'm sending a 'pre' auxiliary out into my fx case. The dry sound first goes into the erica synths fusion delay / flanger vintage ensemble which is giving me short modulated delays giving vibrato like sounds and pushing the input level and overdrive gives us some warmth and grit that thickens up the sound and also fills in the gaps left by the free running lfos pulling quieter sounds and compressing in the on board tube. This then outputs to the feedback 1 bit multitap delay module which has it's delay chip pushed to longer times for some added crackle and noise. I'm using the two delay taps for a shorter and longer delay with little feedback to mix the dry sound for a generally noisier and smeared version of the input. This then goes into the xaoc devices kamieniec with it's on board lfo as slow as possibly for a mildly resonant phase shifting. This goes into mutable instruments clouds set to sew random grains slowly and randomly which are pitch shifted up 2 octaves to fill out some high end flourishes against the closed chord voicings at the core of the patch. Finally this goes into a long lush reverb from the halls of valhalla card in the tiptop audio z-dsp. The stereo fx chain and the mono dry signal are mixed in the befaco hexmix and recorded as a mixed stereo file. I'd consider this to be the main 'reel'. However i split the dry signal and the fx only wet stereo signal and recorded those at the same time so you can choose which reel to use and experiment with dry/wet or blended sounds from this patch.