175 Royalty-Free Audio Tracks for "Fifth"

*Seven-hundred-seventy-fifth harmonic on C = F+. Just: 775/512 = 717.66 cents. Limit: 31-limit. MIDI pitch bend: 83,69

*Nine-hundred-thirty-fifth harmonic on C = A↑♯. Just: 935/512 = 1042.59 cents. Limit: 17-limit. MIDI pitch bend: 80,77

*Seven-hundred-ninety-fifth harmonic on C = G♯. Just: 795/512 = 761.77 cents. Limit: 53-limit. MIDI pitch bend: 98,51

*Five-hundred-ninety-fifth harmonic on C = D♯. Just: 595/512 = 260.10 cents. Limit: 17-limit. MIDI pitch bend: 29,51

*Five-hundred-eighty-fifth harmonic on C = D. Just: 585/512 = 230.75 cents. Limit: 13-limit. MIDI pitch bend: 107,73

*Four-hundred-thirty-fifth harmonic on C = A+. Just: 435/256 = 917.85 cents. Limit: 29-limit. MIDI pitch bend: 90,69

*Four-hundred-ninety-fifth harmonic on C = B↑. Just: 494/256 = 1141.54 cents. Limit: 11-limit. MIDI pitch bend: 37,77

*Lesser septimal tritone on C = G♭ (Ben Johnston's notation). 7:5 = 582.51 cents. Limit: 7-limit.

Tritave dyad (interval)

*Two-hundred-forty-fifth subharmonic on C = C-. Just: 256/245 = 76.03 cents. Limit: 7-limit. MIDI pitch bend: 42,88 on PU

*Hundred-eighty-fifth harmonic on C = F+ (Ben Johnston's notation). Just: 185/128 = 637.66 cents. Limit: 37-limit. MIDI pitch bend: 6,76

*Hundred-sixty-fifth harmonic on C = E↑. Just: 165:128 = 439.59 cents. Limit: 11-limit. MIDI pitch bend: 85,76

*Two-hundred-forty-fifth harmonic on C = C+. Just: 245/128 = 1123.97 cents. Limit: 7-limit. MIDI pitch bend: 85,39 on P8

A sound file playing the interval of an augmented fifth, in equal temperment. The first tone is a sine wave at 300 Hz, the second is at 476.1 Hz, the last is the interval. Made with NCH Tone generator.

*Fifty-first harmonic on C = G♯. Just: 51/32 = 806.91 cents. Equal-tempered: 28/12:1 = 800 cents. Limit: 17-limit. MIDI pitch bend: 27,66

*Just tritone on C = G♭- (Ben Johnston's notation). 64/45 = 609.78 cents. Limit: 5-limit. MIDI pitch bend: 16,67

*Two-hundred-seventh harmonic on C = G♯+. Just: 207 : 128 = 832.18 cents. Limit: 23-limit. MIDI pitch bend: 38,74

*Bohlen-Pierce scale: interval between C and F, lesser septimal tritone on C = F. Just: 7/5 = 582.51 cents. Limit: 7-limit. MIDI pitch bend: 52,58

*Three-hundred-forty-third harmonic on C = G♭+. Just: 343:256 = 506.48 cents. Limit: 7-limit. MIDI pitch bend: 9,66

*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

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.

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

*Hundred-eighty-ninth harmonic on C = G+ (Ben Johnston's notation). Just: 189:128 = 386.31 cents. Limit: 7-limit. MIDI pitch bend: 115,87 on TT

*Ninety-first harmonic on C = G♭ (Ben Johnston's notation). Just: 91/64 = 609.35 cents. Equal-tempered: 26/12:1 = 600 cents. Limit: 13-limit. MIDI pitch bend: 127,66

*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

*24389th harmonic on C = G♭+. Just: 4/12 = 688.73 cents. Limit: 29-limit. MIDI pitch bend: 50,92 on TT

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

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.

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

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

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.

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

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).