290 Royalty-Free Audio Tracks for "Harmonic Sevenths"

Sunlight from the surface illuminating a vast space filled with machines.

Sort of a riff but sort of an assortment of noises/harmonics and vibrato/tremolo effects. Chop it up and serve hot or cold, your choice.

It was made with extraordinary plugins erhu guzheng yangquin and a sense of extraordinary expression, valley reverb, and glides. Authentic expression of chinese traditional instruments is hard to imitate so this scene is very short, but useful. As always, my sounds are free, but i'd like to hear your artworks when using a sound, or part of a sound. Also, it is a pleasure to me, if you're referencing this source in your credits.

E4 note played with a trumpet using a harmon wow-wow mute.

*Fifty-seventh harmonic on C = B♭. Just: 57:32 = 999.47 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 19-limit. MIDI pitch bend: 106,95 on M6

*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

*Hundred-seventeenth harmonic on C = B♭. Just: 117/64 = 1044.44 cents. Equal-tempered: 28/12:1 = 800 cents. Limit: 13-limit. MIDI pitch bend: 28,78

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

Dominant seventh in Beethoven's Fifth Symphony, last movement.

Leading-tone seventh chord in C major.

Half-diminished seventh chord on sharpened supertonic in C.

Half-diminished seventh chord on sharpened subdominant in C.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Altered major chord on B with diminished seventh (B, D♯, F♯, A♭), equivalent to a minor-minor seventh chord on G♯ (G♯, B, D♯, F♯) Alterierter Akkord mit verminderter Sept Esperanto: Ekzemplo por malsupren aliigita septo

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

Beta scale dominant seventh chord on C. Created by Hyacinth (talk) 07:35, 12 April 2011 (UTC) using Sibelius 5 with midi pitch bend. Pitch bend appears to match intervals.

Diminished seventh chord's use in modulation.

A noise, a harmonic, from somewhere beyond space. . . . Then an ugly sound.

Short electric guitar improvisation. Sample recording. Fender strat. H&k tube amp.

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).

Low frequency boom sound, great to hear on subwoofer!.

Creative audio application of the harmonic plus stochastic transformations module of the sms-tools by the mtg.

Made with cinematic strings (basses) + orchestral essentials (strings pizzicato).

A combination of:https://freesound. Org/people/symphoid/sounds/159192/ (freestyle piano. Wav)https://freesound. Org/people/symphoid/sounds/159194/ (jangles. Wav). Making a happy occasion piano freestyle with the bright of bells. In my search, i was playing one and by mistake played the other together in the freesound page, it rhymed, so i did this. The piano is unmodified, the jangles had cuts of pieces, invert, volume envelope, and paulstretch (which makes the whoooosh, sidereal moments). ** all credit to >> symphoid <<, author of the original sounds here combined. Credit him if you use this. Thanks **.

Augmented dominant seventh chord on C

Dominant raised ninth flat five chord on C. C E Gb Bb D#.

English: Chopin Prelude, Op. 20, No. 10 (1832) opening. Consecutive diminished seventh chords as whole tone scale harmony. Piston analyses viio as Vo9 with a missing root.

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

Harmonic plus stochastic resynthesis of the female speech sound: http://www. Freesound. Org/people/xserra/sounds/254374/. This was done using the harmonic plus stochastic model implemented in the sms tools: http://mtg. Upf. Edu/technologies/sms. The parameters used for the analysis were:. - window: blackman- window size: 2001- fft size: 2048- magnitude threshold: -100- minimum duration of sinusoidal tracks: 0. 05- maximum number of harmonics: 100- minimum fundamental frequency: 150- maximum fundamental frequency: 250- maximum error in f0 detection algorithm: 5- max frequency deviation in harmonic tracks: 0. 05stochastic approximation factor: 1.

3 instruments with:1: bassoon with oscillator and diminuendo and panoramization with square roots and oscillators2: noise3: panoramization of both channels, with and without harmonics, with lines.

Using delay and a boss ds-1 distortion pedal while tapping the natural harmonics of the b-string on my ibanez artcore.

Dirty tone type of riff with maybe a hint of texas sauce with lots of harmonics.

Various guitar squeal sound effects. This effect is done by barely touching the string and then bending it to make a squeal effect. [cc zero].

Double bass bowed harmonics. Bass played by houston guy, recorded with a shure ksm44, 24bit mono. I was producing a song and asked mr. Guy to give me some noisy strangness just to layer in for texture and he performed admirably.

*Greater 59-limit seventh tone on C = ?. Just: 59/58 = 29.59 cents. Limit: 59-limit. MIDI pitch bend: 60,73

Augmented major seventh chord on C

*Lesser 59-limit seventh tone on C = ?. Just: 60/59 = 29.10 cents. Limit: 59-limit. MIDI pitch bend: 39,73

Diminished seventh chord as incomplete ninth in C.

Just major seventh chord on C (8:10:12:15).

Chord progression with diminished seventh chords added.

Striking various parts of a heavily rusted and deteriorated piece of metal. A beautiful sound with harmonically-complex resonance.

Striking various parts of a heavily rusted and deteriorated piece of metal. A beautiful sound with harmonically-complex resonance.

Harmonic component obtained from the analysis of a female speech sound: http://www. Freesound. Org/people/xserra/sounds/254374/. This was done using the harmonic plus stochastic model implemented in the sms tools: http://mtg. Upf. Edu/technologies/sms. The parameters used for the analysis were:. - window: blackman- window size: 2001- fft size: 2048- magnitude threshold: -100- minimum duration of sinusoidal tracks: 0. 05- maximum number of harmonics: 100- minimum fundamental frequency: 150- maximum fundamental frequency: 250- maximum error in f0 detection algorithm: 5- max frequency deviation in harmonic tracks: 0. 05stochastic approximation factor: 1.

Synthesized string ensemble short. Long decay, wide stereo image. Made to help you build tension in your amateur movie. Synthesized with zynaddsubfx inside lmms (96khz/32-bit). Edited and normalized with audacity, then saved as 24-bit flac.

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

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

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

*29-limit seventh tone on C = C (Ben Johnston's notation). Just: 58/57 = 30.11 cents. Limit: 29-limit. MIDI pitch bend: 81,73

*Greater just minor seventh on C = B♭. 9/5 = 1017.60 cents. Limit: 5-limit.