158 Royalty-Free Audio Tracks for "Major Chords"

The mechanical noise and signature "chord" associated with the "mac mini (2010 model)" upon startup/boot. Brief mechanical motor and clicking noises followed by the famed sustained f sharp major chord (detuned 30 cents flat) being projected over low quality, built-in speakers. Mechanical noise has defined pitch and is predominantly in the mid-high frequencies. Recorded on zoom h2n, in small, empty room. Audio clip normalized in post-processing.

An old brown plastic wind organ (?)-you plug it in, and a fan blows the reeds-these are samples of the button chords-somewhat concertina like. Recorded quickly with sure sm81 condenser thru hb tube pre into motu/digi perf setup. A major.

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.

Secondary dominant with barbershop seventh chords. V/V - V - I in F major (G7-C7-F). Derived from [1]. In just intonation. Sevenths are harmonic sevenths, and the F in the first measure is 27.26 cents lower than the F in the third measure. Pitch bend matches intervals.

A set of orchestral hits with different instrumentations. The chord c major is played. A: full orchestra with cymbals and bells (*1)b: full orchestra without cymbals and bellsc: no untuned percussiond: col legno strings (*2)e: no woodwindsf: no brassg: no percussionh: only brass & percussioni: only woodwinds and percussionj: only strings and percussionk: only col legno strings and percussionl: only strings and woodwindsm: only strings and brass. (*1) the cymbals tend to sound weird when you change the pitch (in my opinion) so all other samples don't use them. (*2) col legno is when the strings are hit with the wooden back of the bow. These are very dry samples with no additional reverb or any other processing.

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.

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.

Sound file of a brief passage from Mozart's Piano Sonata in G, K. 283 Third movement, starting measure 247. .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Wolfgang Amadeus Mozart  (1756–1791)