La Monte Young - Magic opening chord: E♭, E, F, A, B♭, C, D, E♭, E, F, G, A, B♭ = 2:3:7:9:21:63:567:189:567. The opening chord (left), E, F, A, B♭, D, E, G, and A, and the magic chord (right), E♭, B♭, C, E♭, F, B♭.
Chord from just Bohlen–Pierce scale: C-G-A Title refers to harmonics (fundamental=1:3:9:etc.)., tuned to harmonics 3, 5, and 7. "BP" above the clefs indicates Bohlen–Pierce notation.
Author: Created by Hyacinth (talk) in Sibelius with midi pitch bend on 4 different instruments.
Some chords played on my pilarte classical guitar using my thumb nail. E minor, a minor, d minor, g, c (add9). Recorded on my yamaha pocketrak and edited in sony vegas. There is a hiss. Sorry. Please comment on what you will use it for. Thanks. :^)-.
Super useful electronic chords. The omnichord is a true classic. The only catch is you have to chop them yourself. I just load them into a beat slicer and go to town :). Also sounds amazing with distortion!.
Author: Created by User:Hyacinth 20:01, 5 August 2008 in Sibelius with midi pitch bend on 51,85 for 266.8701171875 cents rather than 266.87 and 80,64 for 701.953125 cents rather than 702.
March 2018. Recording equipment: shure sm57 mic, digilab smp100 preamp, roland quad-capture interface. Equalized by logic pro x. Acoustic japan guitar fg-151.
Arpeggios in bm key : bm, am5b, g, f#7. Played on acoustic nylon guitar. Melancholic / sad feeling, the second chord has a dissonant flat dominant to give a hint of strangeness to the phrase. Sound capture using internal guitar electronics (godin multiac grand concert duet). Recording device is a tascam gt-r1. Initial sound was stereo with left and light sides 180 degrees out of phase. I converted to mono using audacity. Recorded on the 12-dec-2015 in houston, texas.
Harmonic progression from a Mozart piano sonata--sound file. Piano Sonata in G, K. 283, third movement, starting measure 247. Digital recording by Opus33 using Wavesurfer software. Transcription into chords by Opus33, loosely following Piston and DeVoto, Harmony. This music is in the public domain. The recording is not copyrighted, and it is hereby released by its creator (known in this context by the pseudonym Opus33) into the public domain. The following tag, though it is not quite accurate, is included in order to authorize this file according to the Wikipedia rules:
Wrote/recorded a short rock song at 120 bpm in ableton live 9:guitar recorded direct into a scarlett 18i20 then used guitar rig 5 plugin from native instruments. Ezbass for bass. Ezdrummer for drums. Chords: am, c, g, f#. Additional notes:-11. 7 lufs integrated. -3. 5 db true peak max. Hope this helps and is useful for your next project. Cheers,bainmackyoutube. Com/bainmack.
Just a basic single wave form sample from a real roland jp-8080 saw wave in the key of g. Used in making an epic super saw and super arp for these youtube tutorials and project:. Part 1: https://www. Youtube. Com/watch?v=byd_yirefiipart 2: https://www. Youtube. Com/watch?v=wruzgwtmvuqfull ableton project here: http://blnd. Io/1aodggb. The sample is tuned to the key of g, you will have to make sure that the sample is set to the key of c or transpose up 5 semitones. I correct this in the new template update; so that all chords and arps are in sync w/ the correct key.
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.
Part of the beta loopset, a set of complementary synth loops. It is:. * in the key of g mixolydian, following the chord progression g7sus4 fsus2. * four bars long at 110bpm. * normalized.
This wav file is a take-away from a midi track my current project. The vst instrument is 4front e-piano and it's free! - the root key is g major, starting off in the piano roll at g3. The bottom drops to g2 and uses heavy steps, separated by a key to reach g2. Going back up to g3, the notes are shortened and no keys are skipped. Hence the fairytale stares ascents. The ceiling above g3 is g5. So 1 octave down, 2 up. The tight stairstep is maintained above g3. There is just downward notes to keep it sounding like a saw form. The entire sound should be in-key and loopable. Each of the 16 bars is unique. I didn't just copy and paste the same notes several times. - my next step is to apply a different midi sound. Sorry for the book. I hope this helps someone.
Example of dissonance in Bach's Well-Tempered Clavier, Vol. I (Preludio XXI). The chord in question was pointed out in: Marquis, G. Welton (1964). Twentieth Century Music Idioms. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. Presumably Marquis is the source of the tempo, dynamic, and, in the second measure, arpeggiation.
This is a classic hiphop sample with a kick at the beginning. It may rings a bell to you if you heard some hip-hop golden era tracks. . . Cut taken with cool edit pro 2. 1. As a a classic hip-hop sample, it's de facto public domain. It's been used so many times by so many artists through the years. Here you have a list of some songs those have it (ordered by release date):. · esg - ufo - 1981 (http://youtu. Be/0bss-qq99aq?t=14s)· dj chuck chillout & kool chip - time to rhyme - 1989 (http://youtu. Be/afniprh10z8?t=34m25s)· stezo - it's my turn - 1989 (http://youtu. Be/z8c7g5d7hsc?t=5s)· unrest - u. F. O. - 1991 (http://youtu. Be/glmmvkoklpk?t=3s)· miles davis - fantasy - 1992 (http://youtu. Be/fdbtwbqeq2s?t=18s)· notorious b. I. G. - party and bullshit (original mix) - 1993 (http://youtu. Be/6i5fgro2d38?t=10s)· junior mafia - realms of junior mafia - 1995 (https://www. Youtube. Com/watch?v=hcllk0ic0bw)· j dilla - geek down - 2006 (http://youtu. Be/70swratfghm?t=10s). Some other classic samples has been already uploaded to freesound. Org. You can check, for example, the amen break: if you make a search of "amen break" you'll find about 250 sounds (at the moment i wrote this description, of course), original one (even the four bars of the original track) and variations. - original without kick at 100 bpm: http://www. Freesound. Org/people/bronxio/sounds/238671/.
Classic hip-hop sample! if not mistaken, originally from the song u. F. O. By esg in 1981. Commonly used in hip-hop tracks in the golden era (mid-80's until mid 90's). Edited with audacity and magix music maker 5. As a a classic hip-hop sample, it's de facto public domain. It's been used so many times by so many artists through the years. Here you have a list of some songs those have it (ordered by release date):. · esg - ufo - 1981 (http://youtu. Be/0bss-qq99aq?t=14s)· dj chuck chillout & kool chip - time to rhyme - 1989 (http://youtu. Be/afniprh10z8?t=34m25s)· stezo - it's my turn - 1989 (http://youtu. Be/z8c7g5d7hsc?t=5s)· unrest - u. F. O. - 1991 (http://youtu. Be/glmmvkoklpk?t=3s)· miles davis - fantasy - 1992 (http://youtu. Be/fdbtwbqeq2s?t=18s)· notorious b. I. G. - party and bullshit (original mix) - 1993 (http://youtu. Be/6i5fgro2d38?t=10s)· junior mafia - realms of junior mafia - 1995 (https://www. Youtube. Com/watch?v=hcllk0ic0bw)· j dilla - geek down - 2006 (http://youtu. Be/70swratfghm?t=10s). Some other classic samples has been already uploaded to freesound. Org. You can check, for example, the amen break (extracted from the amen brothers by the winstons in 1969): if you make a search of "amen break" you'll find about 250 sounds (at the moment i wrote this description), original one and variations. - 2 bars version: http://www. Freesound. Org/people/bronxio/sounds/238672/.
Classic hip-hop sample! if not mistaken, originally from the song u. F. O. By esg in 1981. Commonly used in hip-hop tracks in the golden era (mid-80's until mid 90's). This got also the original second bar compressed in duration before the beat starts, so it has 2 bars. Edited with audacity and magix music maker 5. As a a classic hip-hop sample, it's de facto public domain. It's been used so many times by so many artists through the years. Here you have a list of some songs those have it (ordered by release date):. · esg - ufo - 1981 (http://youtu. Be/0bss-qq99aq?t=14s)· dj chuck chillout & kool chip - time to rhyme - 1989 (http://youtu. Be/afniprh10z8?t=34m25s)· stezo - it's my turn - 1989 (http://youtu. Be/z8c7g5d7hsc?t=5s)· unrest - u. F. O. - 1991 (http://youtu. Be/glmmvkoklpk?t=3s)· miles davis - fantasy - 1992 (http://youtu. Be/fdbtwbqeq2s?t=18s)· notorious b. I. G. - party and bullshit (original mix) - 1993 (http://youtu. Be/6i5fgro2d38?t=10s)· junior mafia - realms of junior mafia - 1995 (https://www. Youtube. Com/watch?v=hcllk0ic0bw)· j dilla - geek down - 2006 (http://youtu. Be/70swratfghm?t=10s). Some other classic samples has been already uploaded to freesound. Org. You can check, for example, the amen break (extracted from the amen brothers by the winstons in 1969): if you make a search of "amen break" you'll find about 250 sounds (at the moment i wrote this description), original one and variations.
Japanese version of Auld Lang Syne. Auld Lang Syne is a song written by Scottish poet Robert Burns (1759–1796). This song is well known in many countries in the world, also Japan. In Japan, Auld Lang Syne is well known as it's translated version "蛍の光"(read as "Hotaru no hikari"(means "lights of fireflies") translated by 稲垣千頴(Chikai Inagaki) early Meiji era(1880s). I did my best, but quality is poor. So if you can sing this song and upload ogg file, please substitute the links to this song which embedded in some wikipedia pages to your better version. 日本語: 蛍の光の一番。まだなかったので歌ってみました。歌は苦手なのですがこれからパブリックドメインの楽曲のアップロードが増える事をねがいつつアップロード。もし他に歌ってくれる方がいる場合（バンドやってる方や打ち込みやってる方など）、Wikipedia内でこの曲へ張られているリンクは、あなたがアップロードしたもっとまともなファイルの方へ切り替えてくやってださい。お願いします。 Software 使用ソフト 超録 http://pino.to/choroku/ for recording 録音用 Audacity http://audacity.sourceforge.net/ edit & export ogg file 編集とoggファイルの書き出し用 chord コード進行 C -> G -> Am -> F C -> G -> F -> G -> C C -> G -> C/G -> F C -> G -> F -> G -> C
This one was also made in sylenth1, its a pretty dirty gritty sounding patch i made. Has a bit of the 'decimate' bitcrusher (sylenths', and i also added a bass amp in logic to fatten the sound up, its played in g. I always name my loops with the first letter on its key hence the name ghost chord=) , and is a loop made at 128bpm. Feel free to use it in any of your works + more importantly let me know why you like it?i take quite some time into adding details in my sounds. I find making a loop can be very good for tuning your ears & production techniques, because like an artist if your painting something small u add a lot more detail. No need to credit me but its always nice(the more u do this the more u get i say=)enjoy. Dw.
Wrote/recorded a free dance tune at 100bpm using ableton live 9. Basic 4 chord song structure (a, e, g, d). Synth and synth sounds are a combination of ableton stock plugins (bass groove, might as well synth brass, celestial pad) and free online synth vsts (dexed, synth1 vst). Percussion section is the ableton stock drum rack with the stock samples. Mixing and mastering used ableton stock plugins. Hope this helps and is useful for your next project. Cheers,bainmack. Youtube. Com/bainmack.
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.
