129 Royalty-Free Audio Tracks for "Fourth"

*Augmented eleventh on C = F♯'. Equal-tempered: 218/12:1 = 1800 cents. MIDI pitch bend: none

Here is a firework show sound effect. Recorded on july 4th 2020. Licensed under creative commons 0. Enjoy!.

Here is a firework show sound effect. Recorded on july 4th 2020. Licensed under creative commons 0. Enjoy!.

July 4th fireworks going off all across town, echoing off the buildings. Sounded like the world was ending, figured i'd get a sound bite.

Suspended fourth chord on C in first inversion.

*Bohlen-Pierce scale: interval between C and B on C = B. Just: 25/18 = 568.72 cents. Limit: 5-limit. MIDI pitch bend: 127,53

Mahler, Symphony No. 4, fourth movement, bars 25-6

Firework effect made with fl studio. You can use my sounds freely. It would be great if you credit me. Leave a comment and tell me for which project you used it. Daniel lucas, danlucaz. 2021.

Fireworks recorded amidst the buildings of an apartment complex. Lowpassed around 1khz. Slightly expanded dynamic range. I cut as many incidental noises as i could hear on my headphones (cars, neighbors, etc) but there's still some residual hum from an electrical box that was nearby as well as wind. Recorder: zoom h1date: 7/4/2017time: 10:00pmlocation: fremont, ca (usa).

Sounds like the uplift to the drop of an edm track, but can also be used as a firework sound effect, or for a bomb dropping. Created using a low-passed square wave, over-compressing it, distorting it, playing 2 notes a semitone apart and pitch shifting.

Halloween firework captured from circular courtyard, bass roll off applied. Zoom h4n, 16 bit 44. 1khz, 120 degree stereo.

Symphony No. 6, fourth movement, bars 146-155

*Sixty-fourth tone on C. Equal-tempered: 21/384:1 = 3.12 cents. MIDI pitch bend: 127,64

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

Halloween firework captured from circular courtyard, bass roll off applied. Zoom h4n, 16 bit 44. 1khz, 90 degree stereo.

*Twenty-third harmonic on C = F♯+. Just: 23/16 = 628.27 cents. Limit: 23-limit. MIDI pitch bend: 6,73

*Hundred-sixty-ninth harmonic on C = F♭. Just: 169:128 = 481.06 cents. Limit: 13-limit. MIDI pitch bend: 120,57 on P4

Viennese fourth chord.

Recorded on july 4th, 2022 (of course). You can credit me for the sounds (if you want), but you don't need to.

Field recording of canada day fireworks. You can get some pretty clean samples of just fireworks, without crowd in here. Cleaned the audio in rx8. Use this for whatever you want, for free. Feel free to credit me if you feel compelled to. Find me here:https://geoffreybremner. Wixsite. Com/gbaudio.

Chromatic fourth: lament bass bassline in Dm (D-C♯-C(♮)-B-B♭-A).

*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

*Ninety-third harmonic on C = F♯+ (Ben Johnston's notation). Just: 93/64 = 646.99 cents. Limit: 31-limit. MIDI pitch bend: 5,79

*Tridecimal major third on C. Just: 13:10 = 454.21 cents. Limit: 13-limit.

*Classic augmented eleventh on C = F♯'. 25/18 = 1768.72 cents. Limit: 5-limit. MIDI pitch bend: 127,53 MIDI.

The fourth piece surviving from Nannerl's music book.

Beethoven Symphony No 6, fourth movement, bars 3-8

Symphony No. 9, movement 4, Op. 125

*Undecimal major third on C = F↓+ (Ben Johnston's notation). 14:11 = 417.51 cents. Limit: 11-limit.

The fourth piece surviving from the fragments of the Nannerl Notenbuch

Fifteenth chord from Marpurg on A: A,(C,E,)G,B',D',F',(A"). Resolves to C,E,G,C',E'.

Cello Sonata, op. 19, composed by w:en:Sergei Rachmaninoff in 1901. Excert from fourth movement.

Descending enigmatic scale on C is distinguished by F♮, a lowered fourth degree.

viio6 as a substitute for V43 chord in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

V43 for comparison with viio6 as a substitute for V43 in Beethoven Piano Sonata in C major, Op. 2, No. 3, fourth movement.

The first three, and final verses of Through the Years. Originally "Tyle Lat" and later translated into English. Written c. 1920 by Francis Hodur, and translated in 1921 by the Fourth Synod of the PNCC.

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.

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position fourth.

Fourth movement of Gustav Holst's Second Suite in F for Military Band, based on the folk song of "Dargason" whilst "Greensleeves" clearly wovens into the fantasia in the end.

First Publication Alberts Music Sydney Australia with separate violin & cornet parts (ommitted) Fourth edition 1932 by another publisher Palings Sydney Australia with band parts Bert Rache (-1928) http://nla.gov.au/anbd.aut-an35655503 Dated Australia wide (5 July 1910). "Advertising". The West Australian XXVI, (7,572): 1. Retrieved on 3 May 2021.

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).

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).

An important subtype of the descending 5-6 sequence is the root position variant, also known as the Pachelbel sequence, due to the use of this sequence in Pachelbel's Canon. The Pachelbel sequence changes the first inversion chords in the descending 5-6 sequence to root position chords, resulting in a bass pattern that moves down a fourth, and then up stepwise.

Cavatina from La Favorita, arranged and played by alto saxist H. Benne Henton. It is originally from the fourth act of Gaetano Donizetti’s opera La favorite. Die Cavatine aus Die Favoritin, arrangiert und eingespielt vom Altsaxophonisten H. Benne Henton. Es ist ursprünglich die Cavatine des Fernando aus dem vierten Akt der Oper Die Favoritin von Gaetano Donizetti.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the first 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 fourth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.