188 Royalty-Free Audio Tracks for "Fifth"

This a amaj drone tone created from an orchestra tuning sound segment (http://www. Freesound. Org/people/acclivity/sounds/24205/). Through an harmonic model, the low brass section have been separated of the trumpets and then a series of harmonic (harmonizer) transformations have been done in order to include a major third and a perfect fifth in the f0 = a2 harmonic serie. The a tuning is a little bit down from 110hz (~106-107hz).

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 Band, and performed by the Marine Band conducted by Lt. Col. Cline at Van Wezel Hall, Sarasota, Florida in 1977

Various sounds created with ar 15. First sound is removing the magazine. Second sound is putting the magazine back in, but not all the way. Third sound is pushing the magazine in all the way. Fourth sound is taking the magazine out again. Fifth sound is putting it in again, all the way this time. Sixth sound is cycling the charging handle. Sixth sound is engaging the bolt catch with an open bolt. Recorded with a blue snowball through audacity.

* the music is a backing track, intended for practice, exploring the lydian tonality. The backing track runs through each of twelve tonal centers, starting with d lydian and moving down a fifth every two measures (counterclockwise through the cycle of fifths), ending with a lydian. * the audio consists of a single pass through the 12 tonalities, but the files are optimized for looping and should transition smoothly from end to beginning, given the appropriate looping software or hardware. * i enjoyed making this track and found it useful for practicing various ideas, such as running scales in different positions, directions, and intervallic combinations, superimposing triad and tetrad shapes, voicings, inversions, and lines. And just jamming out and improvising freeform.

* the music is a backing track, intended for practice, exploring the dorian tonality. The backing track runs through each of twelve tonal centers, starting with d dorian and moving down a fifth every four measures (counterclockwise through the cycle of fifths), ending with a dorian. * the audio consists of a single pass through the 12 tonalities, but the files are optimized for looping and should transition smoothly from end to beginning, given the appropriate looping software or hardware. * the tempo is 95 bpm. * i enjoyed making this track and found it useful for practicing various ideas, such as running scales in different positions, directions, and intervallic combinations, superimposing triad and tetrad shapes, voicings, inversions, and lines. And just jamming out and improvising freeform.

My fifth attempt at a glitch style loop. In order to make the samples used here - most of which are only hundredths of a second long - i took samples from the amen kit, then switch the format from >pcm 22. 050 khz, 8 bit, mono< into >adpcm 11. 025 khz, 4 bit, stereo< then back to >pcm 22. 050 khz, 8 bit, mono< again. I found that if you do this with a sample under 00. 35 seconds long, you get an almost random glitch sound, about. 04 seconds long, that barely sounds like the original sound. I just figured this out, but i'll make note of it; i like some of the effects.

Snippets from recordings of me playing the tanpura. Tuned to e flat, the notes from top to bottom are b flat, e flat, c, low e flat. In traditional indian tuning the root note in the scale is referred to as sa and is e flat in this scale the fifth note (b flat in this scale) is referred to as pa and the sixth note (c) is dha. I noticed that my first pack of tanpura samples has a bit of fuzzy white noise so in this pack i have equalized - i reduced all the very high frequencies which got rid of most of the white noise without affecting the low frequency sounds of the tanpura itself. Please note this is the tanpura part of an instrument called the swar sangam which combines the swarmandal (indian harp) and the tanpura, it is not a traditional tanpura and does sound slightly different.

Snippets from recordings of me playing the tanpura. Tuned to c sharp, the notes from top to bottom are g sharp, a sharp, c sharp, low c sharp. In traditional indian tuning the c sharp is the root note (first note in the scale) and referred to as sa. The fifth note (g sharp in this scale) is referred to as pa and the sixth note (a sharp) is dha. The pack contains recordings of the more traditional pa-sa-sa-sa type rythmns, as well as some experimenting with short bass lines, riffs and slap bass drones!. Before you say "a tanpura should not be played in such a way" please be comforted by the fact that this is not a traditional tanpura (and will never sound or be able to be played exactly like a traditional tanpura) it is part of the swar sangam, which combines the four drone strings of the tanpura with 15 harp strings. I am only playing the tanpura part in these recordings.

Three perfect fifths, in equal temperament

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

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

Parallel fifths from German sixth resolution in Mozart - Symphony K.453.

An ascending fifths sequence in C major. Notice the "circle of fifths" pattern in the lower staff similar to the descending fifths sequence, except going in the opposite direction.

A Major Scale, Triads, and Fifths Equal.

A Major Scale, Triads, and Fifths Just

Twinkle Twinkle Little Star melody doubled at fifths: fairly consonant but not equivalent. Created by Hyacinth (talk) 15:02, 26 July 2009 using Sibelius 5.

Two kazoos playing a similar fanfare in fifths harmony.

Tritave dyad (interval)

Sequential modulation through the circle of fifths in Haydn, Quartet Op. 3, No. 3, IV, Hob.III:15 (now considered spurious, perhaps by Roman Hoffstetter).

MIDI rendering of a passage from the madrigal "O voi che sospirate a miglior noti" by Renaissance composer Luca Marenzio (c.1553–1599), bars 35–41. Illustrating a striking use of chromaticism in a progression through the whole en:circle of fifths. MIDI produced with Lilypond.

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.

Passage gegen Ende des Nocturne op.37,2: Harmonscher Schnelldurchlauf des Quintenzirkels

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

IV-V-I chord progression in C. MIDI file Progression d'accords. Fichier midi.

Feedback loop going through an improperly connected electrostatic mic, delays, pitch shifters (to justly tuned perfect fourths and perfect fifths), and reverb.

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

*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

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

A morphagene reel recorded from an old swedish air organ. The reel is organized into 5 groups, cmaj scale, octave up, thirds, fourths, and fifths. Really nice slowed down or through a low pass gate.

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

Power chords in progression create parallel fifths, though the prohibit is not relevant since there is not intention to create independent voices. Created by Hyacinth (talk) 03:21, 29 January 2012 (UTC) using Sibelius 5.

*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

*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

*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

Britten's twelve-tone 'Screw' theme [4]divides into equivalent tetrachords, each a segment of the circle of fifths: D-A-E-B, F#-C#-G#-D#, Bb-F-C-G. Created by Hyacinth (talk) 03:10, 7 January 2012 (UTC) using Sibelius 5.

Musical scale called "Ishartum" by Lou Harrison, often called the "Flamenco mode", in Pythagorean tuning on E, as follows: (by fifths) F-, C-, G-, D-, A, E, B (F♯+, C♯+, G♯+, and D♯+), or (in order) E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- (128/81), D (16/9), E (2/1), with G♯+ being 81/64 and D#+ being 729/512. The final F- has an augmented sixth chord, B7b5/F (B D# F A), which resolves to a major chord that touches on the minor third.