1,713 Royalty-Free Audio Tracks for "First"

Movement II, "Intermezzo", of Gustav Holst's famous First Suite in E-flat for Military Band. Performed by the U.S. Marine Band.

*Three-hundred-forty-first harmonic on C = E↑. Just: 341/256 = 496.35 cents. Limit: 31-limit. MIDI pitch bend: 106,62

*Eight-hundred-fifty-first harmonic on C = G+. Just: 851/512 = 879.62 cents. Limit: 37-limit. MIDI pitch bend: 61,57

*Nine-hundred-thirty-first harmonic on C = C♭+. Just: 931/512 = 1035.16 cents. Limit: 19-limit. MIDI pitch bend: 32,75

*Five-hundred-fifty-first harmonic on C = D♭. Just: 551/512 = 127.09 cents. Limit: 29-limit. MIDI pitch bend: 85,72

*Four-hundred-eighty-first harmonic on C = B. Just: 481/256 = 1091.87 cents. Limit: 37-limit. MIDI pitch bend: 51,61

*Nine-hundred-sixty-first harmonic on C = A♯+. Just: 961/512 = 1090.07 cents. Limit: 31-limit. MIDI pitch bend: 105,60

*Four-hundred-forty-first harmonic on C = B♭+. Just: 441/256 = 941.56 cents. Limit: 7-limit. MIDI pitch bend: 38,77

*Two-hundred-sixty-first harmonic on C = C+. Just: 261:256 = 33.49 cents. Limit: 29-limit. MIDI pitch bend: 91,74

*Three-hundred-ninety-first harmonic on C = F+. Just: 391/256 = 733.23 cents. Limit: 23-limit. MIDI pitch bend: 81,74

*Seven-hundred-thirty-first harmonic on C = F♯. Just: 731/512 = 616.47 cents. Limit: 43-limit. MIDI pitch bend: 34,69

*Six-hundred-twenty-first harmonic on C = D♯+. Just: 621/512 = 334.14 cents. Limit: 23-limit. MIDI pitch bend: 118,74

*Four-hundred-fifty-first harmonic on C = A↑. Just: 451/256 = 980.38 cents. Limit: 41-limit. MIDI pitch bend: 92,57

*Five-hundred-sixty-first harmonic on C = C↑♯. Just: 561/512 = 158.23 cents. Limit: 17-limit. MIDI pitch bend: 81,50

TBFG's first single

Slow blues shuffle, first attempt recording with RiffWorks

First 4 measures of the first movmemt of Ludwig van Beethoven's Piano Sonata in C-sharp minor "Moonlight", Op. 27, No. 2.

Death, Percy Bysshe Shelley "First our pleasures die--and then Our hopes, and then our fears--and when These are dead, the debt is due, Dust claims dust -- and we die too."

*Thirty-first subharmonic on C = D♭- (Ben Johnston's notation). Just: 32:31 = 54.96 cents. Limit: 31-limit. MIDI pitch bend: 75,81 on PU

*Six-hundred-fifty-first harmonic on C = E+. Just: 651/512 = 415.82 cents. Limit: 13-limit. MIDI pitch bend: 7,69

*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

*Hundred-seventy-first harmonic on C = F+ (Ben Johnston's notation). Just: 5:4 = 501.42 cents. Limit: 19-limit. MIDI pitch bend: 58,64

*Two-hundred-twenty-first harmonic on C = A. Just: 221/128 = 945.48 cents. Limit: 17-limit. MIDI pitch bend: 70,78

Two examples of tone-cluster notation as first used by Henry Cowell.

The fibonacci sequence in music; first in harmonic intervals, then melodic intervals.

*Two-hundred-thirty-first harmonic on C = B↑♭. Just: 231/128 = 1022.10 cents. Limit: 11-limit. MIDI pitch bend: 9,71

*Hundred-sixty-first harmonic on C = E+. Just: 161:128 = 397.10 cents. Limit: 23-limit. MIDI pitch bend: 9,95 on m3

6/8 clave, first form (standard pattern)

Charles Ives, 3-Page Sonata, first mvt., first fugal complex. The BACH motif from The Art of Fugue Contrapunctus XIXc is the "'1st Theme'/fugue subject" of Ives' combined sonata-allegro and fugal procedures.

*Thirty-first harmonic on C = B. Just: 31:16 = 1145.04 cents. Equal-tempered: 211/12:1 = 1100 cents. Limit: 31-limit. MIDI pitch bend: 53,78

*Twenty-first harmonic, harmonic seventh on G on C = F+ (Ben Johnston's notation). 21:16 = 470.78 cents. Limit: 7-limit. MIDI pitch bend: 83,54

*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

*Hundred-twenty-first harmonic on C = B↑↑♭-. Just: 121:64 = 1102.64 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 11-limit. MIDI pitch bend: 108,64

Piano Sonata Op, 31 No. 3, first movement

midi file of song by Hedwige Chrétien - Comment veux-tu que je t'oublie? (first published 1897)

first 3 bars of Swiss folk song, composed by Ferdinand Huber +1863

First part of Flute-Sonata Nr. 1 in D-Major

This 1920 record is the first commercial recording of blues music by an African-American singer: "Crazy Blues" was composed by Perry Bradford for Mamie Smith in 1920, and sold a million copies in its first year.This is Okeh-4169 (7529 take C) Эрзянь: This 1920 record is the first commercial recording of blues music by an African-American singer: "Crazy Blues" was composed by Perry Bradford for Mamie Smith, and sold a million copies in its first year. Crazy Blues – blues w wykonaniu Mamie Smith z 1920 roku.

New Britain: C. M. ("Original Sacred Harp") - The first sound recording of the song "Amazing Grace"

Symphony No. 9, movement 1, Op. 125

Diminished chord in first inversion in Bach's WTC I, Prelude in G Major.

The first four bars of Prelude No. 1 in C Major, BWV 846, by Johann Sebastian Bach

Recording of Bright College Years, first and third verses, sung by the 2006 Yale Whiffenpoofs.

First nine measures of the Grand Sonata in F minor, Opus 77 by Dussek

[Kde domov muj?] (The Czech National Anthem) [Where is my home?] Duration: 1 minute, 5 seconds PERFORMER(S) Jakubcin, Julia Name also documented as: Jacubcin, Julia NOTES The first stanza to this song, preceding the first stanza to the Slovak National Anthem, constituted the national anthem of the Czechoslovak Republic beginning in 1918. Since 1993, the first two stanzas of this song have served as the national anthem of the independent Czech Republic. The Slavia colony in Florida was established by Slovaks who had first settled in Cleveland in 1912. ETHNIC GROUP(S) Slovak Americans LANGUAGE(S) Czech INSTRUMENTATION vocals GENRE(S) Czech songs National anthems SPEAKER(S) Morris, Alton C. COLLECTED BY Morris, Alton C. CREATED/PUBLISHED 1939/09/01 LOCATION [St. Luke's Lutheran Church] Slavia, Florida Seminole County

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in root position and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is root-second-root-first/root-second-root-first-root)

First Sergeant's Call performed by the Concert Band of the United States Air Force Heritage of America Band. Track 26 from disc 1 of Ceremonial Music (2005).

Grosse Fuge Opus 133 by Ludwig von Beethoven, recorded by the Lener Quartet in 1919. First published recording of this piece. Jenö Léner (or Lehner), first violin, Joszef Smilovits second violin, Sándor Roth viola and Imre Hartmann cello. Recorded on the Columbia label (in 78 RPM format).

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in second inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is second-first-second-root/second-first-second-root-second)

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the first piece in a set of three published in 1893, and the first piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.