2,712 Royalty-Free Audio Tracks for "Bell Tone"

One of four 'Link' chords, all-interval twelve-tone sets containing an all-trichord hexachord.

Dominant seventh raised ninth vs dominant seventh split third chord.

Gruppen tone row (Stockhausen 1963b, 116; Harvey 1975, 58; Misch 1998, 161; Whittall 2008, 185).

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.

Page from Thomas Ravenscroft's (c. 1582 – 1635) "Pammelia, Musicks Miscellanie" (1609)

Mozambique primary bell pattern above a rumba clave. A two bell pattern played on the body and rim of a single mambo bell or high and low bongo or cha-cha bells.

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.

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

Diminished triad on B, as MIDI

Whole tone scale on B. Created by Hyacinth (talk) 01:01, 6 July 2010 using Sibelius 5.

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Schoenberg - Variations for Orchestra op. 31 tone row.

Leading-tone seventh chord in C minor.

Common-tone diminished seventh chord in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

Mirror forms, P, R, I, and RI, of a tone row (from Schoenberg's Variations for Orchestra op. 31): "Called mirror forms because...they are identical."

Webern's Concerto Op. 24 tone row, composed of four trichords: P RI R I.

Tone row for Milton Babbitt's Composition for Four Instruments.

Schoenberg - Piano Piece op.33a tone row.

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

author: Wikipit source: self recorded description: This is the "Westminster" and the one o´clock sound of a rod gong from clockwork produced by Kieninger/Germany date: 2005-12-17

Leading-tone seventh chord in C major.

Grandmother chord (Grossmutterakkord), first used by Nicolas Slonimsky. A G# Bb G B♮ F# C F♮ C# E D Eb = 0 e 1 t 2 9 3 8 4 7 5 6.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

Double harmonic scale with quarter tones. Created by Hyacinth (talk) 07:11, 10 March 2010 using Sibelius 5. MIDI pitch bend appears to match intervals.

Bell sounds three times at different pitches.

Standard bell pattern.

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

English: Chopin Prelude, Op. 20, No. 10 (1832) opening. Consecutive diminished seventh chords as whole tone scale harmony. Piston analyses viio as Vo9 with a missing root.

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

We hear the bell of a buddhist master called zoltán cser. We observe in the sound, the space-filling ability of the sound, and the joy of ringing. Dril-bu (tib) ghan-ta (san) bell (eng) csengő (hun).

Chimes made of glass.

Timbre de bicicleta fuerte y constante.

Deep synthetic gong. Realized by jcg 2016.

*Greater 37-limit quarter tone on C = C♯. Just: 37:36 = 47.43 cents. Limit: 37-limit. MIDI pitch bend: 23,79 on PU

*Greater 29-limit quarter tone on C = C. Just: 29:28 = 60.75 cents. Equal-tempered: 21/24:1 = 50 cents. Limit: 29-limit. MIDI pitch bend: 56,83

Use of the whole tone scale in Debussy's Voiles (1910), Prelude. 2, mm.1-4.

*Lesser 37-limit quarter tone on C = D-. Just: 38:37 = 46.17 cents. Limit: 37-limit. MIDI pitch bend: 99,78

Combinatorial tone rows from Moses und Aron by Arnold Schoenberg pairing complementary hexachords from P-0/I-3.

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

The opening eleven note chord from Aaron Copland's Inscape, without orchestration shown.

Ninth vs added-ninth chord.

This is a "bell hit" i made. All my recordings are made by me and 100% free to use wherever you want. Enjoy!.

Other placesrecorder: zoom h2 / other portable devicesoftware: pro tools / audacity / ocenaudio / reaper. Your comments are greatly appreciatedcheers, piotr zaczek.

Semi tuned bell tones. All tones are derived from one bell.