45 Royalty-Free Audio Tracks for "Diatonic Scales"

Diatonic scale on C, transposing clef.

Diatonic scale on C, bass clef.

Diatonic scale on C, guitar tablature clef.

Diatonic scale on C, equal tempered. Created in Sibelius with no midi pitch bend for 12-tet.

Diatonic major scale in 12 tone equal temperament

Pythagorean diatonic scale on C. + indicates the syntonic comma.

Diatonic scale on C, staccatissimo articulation.

Diatonic scale on C, staccato articulation.

Diatonic scale on C, legato articulation.

Diatonic scale on C, tenuto articulation.

72-et diatonic scale on C. Steps: 0, 12, 23, 30, 42, 53, 68, 72. MIDI pitch bend matches intervals

Regular diatonic tuning 53-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS.

Regular diatonic tuning 31-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS.

Diatonic scale on C.

Diatonic scale on C in 17 equal temperament. Steps: 0, 3, 6, 7, 10, 13, 16, 17. MIDI pitch bend matches intervals.

Hungarian major scale on C

Diatonic scale in 19-et on C. MIDI pitch bend matches intervals. Steps: 0, 3, 6, 8, 11, 14, 17, and 19. Cents: 0, 189.473684210526315789, 378.947368421052631578, 505.263157894736842105, 694.736842105263157894, 884.210526315789473684, 1073.684210526315789473, and 1200 cents. Created in Sibelius with midi pitch bend on 8 (6) different instruments.

Neapolitan major scale on C - As MIDI

Neapolitan minor scale on C - as MIDI

Diatonic scale on C in 15 equal temperament. C, D, E↓, F, G, A↓, B↓, C. If C=0: 0, 3, 5, 7, 9, 11, 14, 0. MIDI pitch bend matches intervals.

Descending enigmatic scale on C is distinguished by F♮, a lowered fourth degree.

Regular diatonic tuning 72-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS. In 12-tone, T=200 cents and S=100 cents. In 72-tone, T=233.3 cents and S=16.6. This is that scale: C = 0 D = 233.3 E# = 466.6 F# = 483.3 G = 716.6 A = 950 B# = 1183.3 C = 1200

Diagram of tin whistle fingering for a diatonic scale: I, II, III, IV, V, VI, ♭VII, ♮VII, I'. In D: D, E, F♯, G, A, B, C♮, C♯, and D'.

Major scale on C. Created by Hyacinth (talk) 19:42, 1 April 2010 using Sibelius 5.

Misheberak scale on D. Created by Hyacinth (talk) 07:50, 18 April 2011 (UTC) using Sibelius 5. See: :Image:Misheberak scale on D.png

Lambda mode diatonic scale in Bohlen-Pierce tuning (Equal Tempered)

Freygish scale on D. Created by Hyacinth (talk) 03:16, 26 November 2011 (UTC) using Sibelius 5.

C Phrygian dominant scale. Created by Hyacinth (talk) 00:37, 5 July 2010 using Sibelius 5.

Example of the Locrian diatonic scale. Note the dark, inharmonious sound. The Locrian scale is difficult to work with due to so few harmonic intervals.

Traditional Pythagorean tuning of the diatonic tetrachord. Created by Hyacinth (talk) using Sibelius 5. MIDI pitch bend appears to match intervals (0,64, 96,62, 64,61, and 80,64).

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].

Lambda mode diatonic scale in Bohlen-Pierce tuning (Just), in an instrument with only odd harmonics.

*Single note of just BP diatonic scale on C = D. Just: 25/21 = 301.85 cents.

*Single note of just BP diatonic scale on C = E. Just: 9:7 = 435.08 cents.

*Single note of just BP diatonic scale on C = A. Just: 7:3 = 1466.87 cents. Limit: 7-limit.

*Single note of just BP diatonic scale on C = H. Just: 9/5 = 1017.60 cents. Limit: 5-limit.

*Single note of just BP diatonic scale on C = C'. Just: 3:1 = 1901.96 cents. Limit: 3-limit.

*Single note of just BP diatonic scale on C = J. Just: 15/7 = 1319.44 cents. Limit: 7-limit.

*Single note of just BP diatonic scale on C = G. Just: 5/3 = 884.36 cents. Limit: 5-limit.

*Single note of just BP diatonic scale on C = F. Just: 7/5 = 582.51 cents. Limit: 7-limit.

*Single note of just BP diatonic scale on C = B. Just: 25/9 = 1768.72 cents. Limit: 5-limit.

* on C = C. Just: 1/1 = 0 cents. Limit: 3-limit. Single note of Just BP Diatonic Scale: C.

*Bohlen-Pierce scale: interval between C and J on C = J. Just: 15/14 = 119.44 cents. Limit: 7-limit. MIDI pitch bend: 29,70

Example of atonal music which avoids octaves, avoids major and minor triads, avoids more than three notes from the same diatonic scale, and avoids conjunct melodies/uses disjunct melodies. From Schoenberg's Klavierstucke, Op. 11, No. 1.

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.