50 Royalty-Free Audio Tracks for "Leading Tone"

Leading-tone seventh chord in C minor.

Leading-tone seventh chord in C major.

Dominant form chord: Diminished leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Secondary leading tone in Beethoven Sonata in C for piano Op. 53, first movement.

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

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

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

Example of leading-tone triad (viio) and secondary leading-tone triad in Johann Sebastian Bach's Chorale: Gott der Vater wohn' uns bei (BWV 317). Identified by Forte (1979) ISBN 0-03-020756-8 as BWV 748, which is currently attributed to Johann Gottfried Walther.

Leading-tone half-diminished seventh chord as dominant in Mozart, Piano Sonata in D Major, III (end of Variation V), K. 284, mm.14-17.

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

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.

Dominant form chord: Half-diminished leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Basic lead-in sound made using a chorused triangle and square wave and reverb, lowpass filter and envelope.

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

Modified dtmf tones, great for building new background or lead sounds in idm, glitch or electronica.

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

Came up with this sound while mucking about. I imagine it leading up to the protagonist discovering something horrible.

Diminished triad on B, as MIDI

Diminished seventh chord on B.

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

viio/V - V - I chord progression. Common in ragtime.

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving. (fo7 to G-flat)

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

Chord progression with diminished seventh chords added.

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

The all-around beautiful exs24 from logic 9. Based on e minor. Bpm: 105.

This is the nord lead 2, it's my new baby synth, other than the micron this thing spits out mad b. O. C. And cex like strings and tones, these are some midi rythms made in fl 8 beta.

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.

A. Timmons pickup in the bridge position with mid-long reverb using some pinch harmonics on some tones. The dark airy, possibly almost cavernous, desolation you asked for. . . Be more specific regarding pitches/keys, any tweaks. . . I'll find you.

My friend and i had rented a minimoog model d (c1977, not the reissue). We were jamming out some ambient-type sounds, and my mate is just getting lovely tones out the moog, going through a deluxe memory man echo/chorus/vibrato for extra analogue niceness. Listen as he goes full-on john paul jones on in the light around the 50 second mark. Fell free to use in your productions and send me a message if you do!.

Using an analog "buttset" or test-set telephone, clipping the leads from an exfomaxtester device and hearing the tones from testing a line, at a terminal/crossbox location (roadside). Cut some low frequencies and added 2s, 5s, then 3s digital-delay effects automated and a reverb effect.

A small sequence i put together using another freesound instrument i found here: http://www. Freesound. Org/people/taira%20komori/sounds/211760/.

A small sequence i put together using another freesound instrument i found here:http://www. Freesound. Org/people/taira%20komori/sounds/211763/.

I created this "happy" sort of synth intro again, with garageband. The initial idea i had for the song was something that had to do with ice and crystals, which you can kinda get out of the tone. Enjoy!.

I recorded this ringtone from my then-typical motorola ultra classic cell phone in early 1997. This version has tiny fade-in/fade-out, about one second of leading silence and two seconds trailing silence for looping. I suggest amplifying it for use on a modern cell phone.

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

Modern Music from Psalm Singer's Amusement by William Billings (1781). Lyrics: we are met for a Concert of modern invention To tickle the Ear is our present intention Audience are seated expecting to be treated with a piece of the Best with a piece of the best & since we all agree to set the tune on E the Authors darling Key he prefers to the rest let the Bass take the Lead & firmly proceed till the parts are agreed to... let the Tenor succed & follow the Lead till the parts are agreed to... let the Counter inspire the rest of the choir inflamed with desire to... let the Treble in the rear no longer forbear but expressly declare for a... ...fuge away then change to brisker time & up the Ladder climb & down again the mount the second time & end the strain then change the Key to pen five tones & flow in Treble time the Notes exceeding low keep down awhile then rise by slow degrees the process surely will not fail to please Thru Common & Treble we jointly have run we'll give you their Essense compounded in one all though we are strongly attached to the rest six four is the movement that pleases us best that pleases us best six four is the movement that pleases us best & now we address you as Friends to the cause performers are modest & make their own laws although we are sanguin & clap at the Bang the part of the hearer's to clap their Applause to clap their applause the part of the hearer's to clap their Applause

I was recording outside my bedroom window while eating dinner in the living room, then i came back in here to see if i got anything interesting. I was zooming through the recording at 5x speed when i came across this bit of incidental pareidolia. I'm not sure what was going on, maybe the neighbors' stereo, but i don't remember hearing it, it's much louder in the living room so i should have. Whatever it was came out as a little distant choppy 2-notes alternating melody when played at 5x speed, which suddenly gets louder and solid as you hear the lower note followed by a third lower note. These 2 louder notes sound to me like someone singing the words all day. This would lead me to believe the original tones have some light harmonics i don't hear at normal speed. After which it goes back to the softer stuttering 2-note alternating thing from before. It doesn't sound like much at all at normal speed. So i just did a few straight pitch changes with goldwave until i got to 5x and saved this little file. See if it sounds like "all day" to you.

Did this thrilling groovy piece of music in garageband for a thing called victors crypt. It starts off with a kind of wicked hard disco-beat. A four on the floor stomping groove. Then a bass line comes in and develops, getting more groovy, more tones. A midpart/breakdown before it goes up into a hard groovy four on the floor disco-beat again. The difference between the mild version and the spicy version is that there is more stuff coming in on the spicy version. Starts off the same but in the midpart there is more going on with guitars, piano, synths and stuff. And afterwards there's a bit of "jammy" section leading to the end. The mild version is more basic, no messing around kind of. Think it would work great to a game, youtube-channel, episode, movie or whatever you feel like. Could be perfect in a thrilling suspence part where someon's beeing chased or are in a hurry for instance. . . Feel free to use it as you like as long as you subscribe to and watch my channel :). Be cool watch and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

Did this thrilling groovy piece of music in garageband for a thing called victors crypt. It starts off with a kind of wicked hard disco-beat. A four on the floor stomping groove. Then a bass line comes in and develops, getting more groovy, more tones. A midpart/breakdown before it goes up into a hard groovy four on the floor disco-beat again. The difference between the mild version and the spicy version is that there is more stuff coming in on the spicy version. Starts off the same but in the midpart there is more going on with guitars, piano, synths and stuff. And afterwards there's a bit of "jammy" section leading to the end. The mild version is more basic, no messing around kind of. Think it would work great to a game, youtube-channel, episode, movie or whatever you feel like. Could be perfect in a thrilling suspence part where someon's beeing chased or are in a hurry for instance. . . Feel free to use it as you like as long as you subscribe to and watch my channel :). Be cool watch and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

This sound was created using audacity. First of all i chose a frequency of 432 hz ( a number which includes the golden rule/proportion), then i created a gradual rise in the first 4 seconds, leading into a peak which descends so it can go up again, creating an effect of confusion. At the end, the sound raises gradually and rapidly to reach its peak once again. This sound recreates, for me, a fast- moving ufo (unidentified flying object) and includes the notion of conspiracy in our society- the changing of the frequency of the tone “la “ from 432 hz to 440 hz in 1953 by the nazis. La règle d’or- 432 hertz. Le ton « la » est une pointe centrale dans le réglage des instruments musicaux. Le ministre de la propagande en allemagne pendant l’époque des nazis a fait un décret général avec lequel il a changé la tonalité « la »de 432 hz en 440 hz. On utilise cette hauteur à partir de 1939 jusqu’à nos jours. Il y a eu des protestes de la part de professeur dussault de la conservatoire parisienne qui a fait une pétition signé par 23 000 artistes françaises mais sans aucun résultat. L’organisation internationale de standardisation(iso) a accepté en 1953 les changements et on utilise la valeur de 440 hz depuis. Des recherches montrent que ce changement a des effets incontournables sur le corps et le cerveau humain- les gens entrent dans un chaos. Ce changement a été caché du monde entier parce que c’est le point de la balance dans la nature. 432 hz est la vibration qui inclue aussi le règle d’or (ou la proportion de dieu). Quand on écoute de la musique en 440 hz la première chose qu’on remarque c’est une fatigue, aucun envie de faire n’importe quoi et beaucoup d’autres ( y inclus le mouvement de notre adn) une étude récent montre que l’utilisation de 440 hz crée des mouvais effets dans la nature et dans toutes les êtres vivantes. Cette article m’a inspirée à recréer un son avec une fréquence de 432 hz qui monte et baisse graduellement. C’est un son seul de type complexe(nodal). Il est de type v( continu varié), il est éclatant,clair et lisse. L’attaque du début est graduelle et violente. Le son varie en « hauteur » de plus fort au moins fort et l’inverse, recréant un effet d’un ovni qui passe à côté de vous.