862 Royalty-Free Audio Tracks for "Example"

Accompaniment acceptable in the Berklee method but not in common practice theory.

DescriptionBulg ornamentation audio example.ogg

Example of an altered chord progression in jazz.

Oh, Susannah is an example of rounded binary form: A-B-½A.

Musical score example of two voices in oblique motion. Created by Hyacinth (talk) 22:10, 2 February 2012 (UTC) using Sibelius 5.

Typical example of horn fifths from the finale of Beethoven's 9th Symphony

An example of a hoover sound. Made by DJ chainz using the free software Buzz Modular Synthesis ( Buzz )

Typical example of horn fifths from the finale of Beethoven's 9th Symphony

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

Baa Baa prosody example. What if it started on 4 instead of 1?

An example of dBlue Glitch VST applied to a "Squeakie Toye" and a "Rewster".

Example of figured bass in context. Implied pitches written in small, stemless type above bass voice. Taken from Beschränkt, ihr Weisen, by J.S. Bach. (Riemenschneider no. 47/69.) Final chord added.

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Example of Russian Orthodox Christmas Church singing

An example of a classic analog synthesizer sound. Four sawtooth bass filter sweeps with gradually increasing resonance.

Example of Russian Orthodox Christmas Church singing

One example of imperfect consonances previously considered dissonances in Guillaume de Machaut's "Je ne cuit pas qu'onques".

Example of a passage requiring bariolage from his Principes du Violon, p.79. Timbral effect synthesized.

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Example of the submediant ("triad on VI") used as a dominant preparation.

Created by Hyacinth (talk) 21:40, 28 July 2008 in Sibelius. Shuffle feel example played straight: with NO shuffle.

This is a soundsample for a jew's harp made by me! you can all do what u want with it! its free! :-)

An example of chant used during aarti (arati) to Santoshi maa, Ganesh's daughter, and sister to Shubh and Labh Hinduism

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The Wagon, a 19th century song early example of Ragtime, performed by Ben Harney in Philadelphia, Pennsylvania on about September 9, 1925

An example of a simple song created with the basic GarageBand instruments. This was made in GarageBand 10.0.3 without the extra sounds pack.

Example of bitonality. BWV 803. Klavierubung Part III, Duetto II.

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An example of A percussionary sting used in slapstick comedy. Drum roll and cymbal common at the pun-end of a joke delivered by a comedian an front of an audience.

Example of a German sixth chord, preceded by predominant chords, in Scott Joplin's Binks' Waltz (1905).

Music example illustrating counterpoint style of Rennaissance composer Josquin des Prez, especially paired motivic imitation. First bars of second part of Psalm motet Domine ne in furore (Ps. 37).

Pale Dreams - Example song included with an early release of Impulse Tracker. Composed by Chris Jarvis, converted to OGG format by Éric Tremblay (delt01).

Greensleeves is an example of sectional binary form (the first phrase ends with the tonic). In the key of G, with E flat and F natural and sharp.

Measure 4 from Ludwig van Beethoven's Piano Sonata No. 8 (Pathetique), Op. 13. This example demonstrates nonuplet 128th notes (semihemidemisemiquavers), 64th notes (hemidemisemiquavers), and one 32nd note (demisemiquaver).

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.

Example of syllabic and melismatic text setting. MIDI doesn't convey the quality of syllables flowing. Source: "Jesus Christ is Ris'n Today" (Methodist Hymn Book, 1933, No. 204). Created by Hyacinth (talk) 01:28, 18 July 2012 (UTC) using Sibelius 5.

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

Example of Albertini bass from Mozart's Sonate Opus KV 331 - Variation 6, measures 13-16 (instead of 13-15 so as to allow an end on the tonic).It seems like Alberti bass, but it isn't!

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.

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.

Giovanni Benedetti's 1563 example of a comma "pump" or drift by a syntonic comma (21.51 cents) during a progression. Common tones between chords are the same pitch, with the other notes tuned in pure intervals to the common tones.

Example of dissonance in Bach's Well-Tempered Clavier, Vol. I (Preludio XXI). The chord in question was pointed out in: Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. Presumably Marquis is the source of the tempo, dynamic, and, in the second measure, arpeggiation.

Half time: notice the snare moves to beats 3 of measure one and two (beats 3 & 7) while the hi-hat plays only on the quarter notes. Note also, for example, that the quarter notes 'sound like' eighth notes in one giant measure.

De la wiki en inglés. Sound example from fourth movement of Beethoven's 5th Symphony, recorded by Opus33 using an acoustic piano. This music is in the public domain. This recording is released into the public domain by Opus33.

Title: Roland MC-202 Creator: Sven Buresch for Wikipedia Description: small looped example using the built in sequencer, filter and controls; no additional effects. Another MC-202 example can be found here. Copyright dispute? Re: MC202 audio exampes Hi. http://en.wikipedia.org/wiki/Image:Mc202example.ogg and http://en.wikipedia.org/wiki/Image:Discobotter.ogg both were written, performed and recorded by myself. I am the copyright owner and I chose to have it PD for Wikipedia as there were no listening examples. If you doubt we can make music at all check out our myspace: [1] - another tune with a 202 on it or go to [2] - loads of noise with 202,303,404's and so on ;)) Hope this helps. Cheers, Sven. --audioschotter.net 13:37, 31 May 2007 (UTC)

Uendelighedsrækken (Dutch for "infinity series"), discovered and used by the Danish composer Per Nørgård, in G major. (This example is not composed by or taken from a work of Per Nørgård.) Uendelighedsrækken (Unendlichkeitsreihe), die der dänische Komponist Per Nørgård entdeckt hat und verwendet, in G-Dur. (Dieses Beispiel ist keine Komposition und kein Ausschnitt eines Werkes Per Nørgårds.)

Picardy third example from Johann Sebastian Bach's cantata Ich habe genug, BWV 82 in G Minor at a cadence in the right-hand of a realised continuo part Created by Hyacinth (talk) 22:13, 13 July 2011 (UTC) using Sibelius 5.

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload