188 Royalty-Free Audio Tracks for "Fifth"

*Hundred-forty-fifth harmonic on C = D (Ben Johnston's notation). Just: 144:128 = 215.89 cents. Limit: 29-limit. MIDI pitch bend: 11,69

*Hundred-seventy-fifth harmonic on C = F♯+ (Ben Johnston's notation). Just: 175:128 = 541.45 cents. Limit: 7-limit. MIDI pitch bend: 33,45

*Eight-hundred-forty-fifth harmonic on C = A♭. Just: 845/512 = 867.37 cents. Limit: 5-limit. MIDI pitch bend: 71,53

*Thirty fifth harmonic on C = D. Just: 35/32 = 155.14 cents. Equal-tempered: 23/24:1 = 150 cents. Limit: 7-limit. MIDI pitch bend: 83,81 on m2

New york ambience from a fifth floor window.

Dominant seventh with root doubled and missing fifth resolving to I, in C.

*Fifty-fifth harmonic on C = A↑. Just: 55/32 = 937.63 cents. Equal-tempered: 29/12:1 = 900 cents. Limit: 11-limit. MIDI pitch bend: 5,76

*Hundred-fifth harmonic on C = A+. Just: 105:64 = 857.10 cents. Equal-tempered: 29/12:1 = 900 cents. Limit: 7-limit. MIDI pitch bend: 34,82 on m6

Fifth Symphony, opening, known as the "fate" motif.

Audio sample of a korg volca keys patch.

Three voice canon, each voice starting a measure later and a fifth lower.

Was recorded from a terrace on the fifth floor of the building with two omnidirectional lavalier microphones with ab stereo technique.

Here is a tractor trailer connecting together.

*Eighty-fifth harmonic on C = E♯ (Ben Johnston's notation). Just: 85:64 = 491.27 cents. Equal-tempered: 25/12:1 = 500 cents. Limit: 17-limit. MIDI pitch bend: 26,93 on M3

Fifth recording of me just listening to birds as i am outside recording them on my iphone.

*Tritave (compound just perfect fifth) on C = G'. 3:1 = 1901.96 cents. Limit: 3-limit. MIDI pitch bend: 80,64

Now it number 6fact that im not really good at english muchand the first to fifth one i actually copy the desription☆(ﾉ◕ヮ◕)ﾉ*.

All harmonics from 16 to 32 as a tone cluster, primarily of seconds, then arpeggiated.

*Eleventh harmonic inverse on C = G↓. 16:11 = 648.68 cents. Limit: 11-limit. MIDI pitch bend: 74,79

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar.

*Tritave (compound just perfect fifth) on C = G'. 3:1 = 1901.96 cents. Limit: 3-limit. Play by clarinets.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Created by Hyacinth (talk) using Sibelius 5.

General chicago ambience just outside the downtown core from a fifth floor balcony as a passenger train passes slowly by. Recorded with a zoomh6.

*29791th harmonic on C = G+. Just: 29791/16384 = 1035.11 cents. Limit: 31-limit. MIDI pitch bend: 29,107 on M6

Brief musical illustration from Beethoven's Fifth Symphony, played on an acoustic piano by Opus33.

Circle of 5ths loop compiled on a 2015 macbook pro using field recordings. Tempo / time sig:24 bars of 3/4 timing with each bar lasting 2. 5s. Or 12 sets of 6/8 at 5s per bar with a total length of 60s. Filters:hipass pumped at 60hz, -5db. Lopass pumped at 1200hz at -6db. Delay set to 0. 05s at 600hz with a 60% wet mix. Arranged with the tonic 5th as a constant with the last (fifth) 5th in the circle, starting and ending with the tonic. Second 5th enters in 5s, third in 15s and the fourth in 25s as the fifth stops. The fifth 5th begins to fade back in after 10s of silence, which begins the process of the second, third and fourth fading out in that order. The fifth 5th is at full volume as the loop turns, as is the tonic. The mood changes noticeably as each consecutive 5th begins, and changes again as the following 5th joins the loop.

*Undecimal minor sixth/Undecimal augmented fifth on C = G↑- (Ben Johnston's notation). 11:7 = 782.49 cents. Limit: 11-limit.

*Ninety-ninth harmonic on C = G↑ (Ben Johnston's notation). Just: 99/64 = 755.23 cents. Limit: 11-limit. MIDI pitch bend: 86,81

Sum and difference tones of A220 and unison, just perfect fifth, and octave. Note that this is not produced through ring modulation of two notes, but is four separate notes.

Me playing on tanpura (an indian instrument), sometimes also called a tambura. It's tuned to c (either major or minor as it's first and fifth). Actually meant this to be a different file. I'll add that as well.

Our town was testing the sewers somehow using audio tones to measure something. Maybe resonant frequency or something like that. It sounded vey musical since they were using 3 tones per octave, like a scale based on an augmented fifth chord.

Thirteenth chord inversion with no fifth or ninth and the flatted seventh in the bass. Different voicing for guitar. Created by Hyacinth (talk) 14:10, 7 July 2009 using Sibelius 5.

Sound illustration for a brief passage from Beethoven's Fifth Symphony. Produced with an acoustic piano and Audacity software by Opus33. This music is in the public domain. This recording is released into the public domain by Opus33.

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

Made with audacity. Copy and paste it 4 times. The first track should not been changed. Change the pitch to +3 on the second track. Change the pitch to -3 on the third track. Change the pitch to -7 on the forth track. And change the pitch to -9 on the fifth track.

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

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Just intonation minor chord from maurolupo’s “ahohe” (211961, “girl's voice singing”). Https://www. Freesound. Org/people/maurolupo/sounds/211961/. Used sonic pi to add a minor third (315. 641 cents) and a perfect fifth (701. 955 cents) while maintaining the duration. Code snippet:```sample dir, "ahohe"sample dir, "ahohe", pitch: 3. 15641sample dir, "ahohe", pitch: 7. 01955```.

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

This is a simple fifth phrase in the key of гusing dodeca notation: a д b c φ d đ e f г g љ(although it's played rather out of tune). The flute is made of red cedar and tuned to г.

Created with steinberg's cubase and custom halion. Processing a voice sample of mine and some coil pickup recordings. It should be an a fifth chord. It's always nice to hear what projects you use these sounds for. Let me know!. If you want more cc0 sounds, please consider supporting me on flattr. Https://flattr. Com/profile/cabled_mess.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the second piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the fifth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

The fifth movement from Hector Berlioz's Symphonie fantastique, known as "Songe d'une nuit de sabbat" or "A Dream of a Witches' Sabbath", transcribed by Lt. Col. Jack T. Cline of the United States Marine Corps Band, and performed by the Concert Band of the United States Navy Band