117 Royalty-Free Audio Tracks for "Dominant"

Voice leading for dominant eleventh chords in the common practice period. Created by Hyacinth (talk) 23:16, 6 July 2009 using Sibelius 5.

Dominant thirteenth: four-voice version. "This disposition is typical." Created by Hyacinth (talk) 18:33, 30 May 2011 (UTC) using Sibelius 5.

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.

Schubert - op.9 D.365, mm.17-24. Modulation using German sixth in new key, enharmonic to dominant seventh in old key.

Simple e-phrygian dominant scalar run. Dripping wet.

Dubstep, dominant clap, short bass rhythm.

A sudden laughter by a boy and a girl. Female voice is dominant. Recorder live during an interview.

Snippet from my unreleased track bobber. Characteristics:- 4 the floor kickdrum- filtered buzzing synths- dominant snare.

A stereo recording of a very large, well-known, long-time apple festival in illinois. Primarily a dominant sound of the popular shoot-water-game. Recording made originally at 96hz using sound devices 702 and the audio-technica bp4025 stereo microphone. Lots of childhood memories ambiance in the background.

A wonderful orgasm with a nice long build-up and great release, then some contented moans to finish. Recorded with an iphone and edited in reaper to remove noise. The dominant hissing background noise was successfully removed, replaced with a sparkly mist of glitchness, which i feel creates a sci-fi fantasy setting.

Graham cracker foley recorded with a pair of mics in xy stereo arrangement (close), and small diaphragm condenser mic (far) running parallel. Processed in reaper with ambient noise reduction, compression, and eq. Each file mixed according to the title ("far" or "close" dominant).

Made using the online remote shortwave receiver of university of twente in enschede holland:http://websdr. Ewi. Utwente. Nl:8901/made in the part of the 20-meter ham band where psk31 is the dominant digital mode, with the receiver deliberately mistuned, in fm mode at it's widest setting to get a mishmash heterodyning sound.

Arpeggios in bm key : bm, am5b, g, f#7. Played on acoustic nylon guitar. Melancholic / sad feeling, the second chord has a dissonant flat dominant to give a hint of strangeness to the phrase. Sound capture using internal guitar electronics (godin multiac grand concert duet). Recording device is a tascam gt-r1. Initial sound was stereo with left and light sides 180 degrees out of phase. I converted to mono using audacity. Recorded on the 12-dec-2015 in houston, texas.

This is the first recording in this pack from inside a traditional, working old dutch windmill, called de lelie - the lily - in the picturesque dutch village of eenrum. This mill was used to grind grain. There was a strong northwesterly breeze straight from te sea, so the sails of the windmill were in full swing, this morning on saturday may 14th. The dominant sound you hear is the sound of the so called “schuddebak”, litterally translated as “shaking bin”. This is a device in the form of a large wooden shovel which is tapping against the turning millstone in order to distribute the grain equally along the millstone. On the background you hear the millstone itself. On the second recording in this pack, the millers had detached the schuddebak, so the sound of the millstone is more dominant in that recording. This windmill is now a small museum. Admission is free, so everyone can admire this proud dutch windmill heritage which reclaimed half our country from the sea and gave us our daily bread. Thanks to the millers fort heir hospitality and cooperation!. (i used an iphone with a zoom iq5).

While the world is holding its breath, waiting for the covid-19 to pass. . . The soundscape is different. Here in illinois, where we have a mandatory, stay at home order, the sounds of the morning winds and birds seem lonely. . . This was recorded on sunday march 29th, 2020. Usually this time of morning would also feature, people walking and talking on the sidewalk, more car traffic and church bells. . . . Recorded with the zoom f-4 recorder. The microphone was a sennheiser mkh-8060 literally pointed nearly straight up at a budding tulip poplar tree. The dominant feature is the constant river of whooshing wind. . . . . Seemingly underscoring the plight that is upon us.

Sample of a metallic percussion hit. The sound is quite dark and muffled. I call it underwater drum, because it sounds to me like it's underwater. This sample is tuned to a1 but there is a very dominant overtone at b1, which is the musical interval of a minor second. The source of the sample was the platter of a dismantled hard disk drive, hit with a wooden mallet. It was then pitched down a lot. The sample is almost raw, i just added some slight eq. The sample was intended to be used with a sampler, you may want to add some reverb for this and filter the previously mentioned overtone, when you use it in combination with other tuned instruments. Also, the pitch is probably not perfectly tuned. Microphone: akq perception 120post-processing: pitch manipulation & eq.

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.