54 Royalty-Free Audio Tracks for "Major Seconds"

Major second on D.

*Major second on C = D. Equal-tempered: 22/12:1 = 200 cents. MIDI pitch bend: 0,64

*Septimal major second on C = D- (Ben Johnston's notation). 8:7 = 231.17 cents. Limit: 7-limit. MIDI pitch bend: 125,73

Fifteenth chord from Perry on C

Full diatonic fifteenth chord from Listz on B

*Major ninth on C = D'. Equal-tempered: 214/12:1 = 1400 cents. MIDI pitch bend: none

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

*Major tone on C = D. 9:8 = 203.91 cents. Limit: 3-limit. MIDI pitch bend: 32,65

Grave whole tone on C (D--), 800/729, 160.90 cents.

*Major semitone/Minor diatonic semitone (17th harmoic) on C = C17♯ (Ben Johnston's notation). 17/16 = 104.96 cents. Limit: 17-limit. MIDI pitch bend: 75,65

9-note ending riff. 1 of 8 samples under 5 seconds from my acoustic guitar recording of a civil war fife and drum song named frog in the well, which i learned from an 1862 instructional manual. The instrument was a 1928 gibson l3. There are no effects. Key is (in order of best fit) d major, f# minor, e minor, g major, a blues. Time signature is 3/4, but these samples are mainly under a bar so can be used in a 4/4 song. You also use either of these licenses for your remix: creative commons attribution-sharealike, creative commons attribution-noncommercial. The home of this song on the web is soupgreens. Com/froginthewell. That has the full source song in mp3 format and short clips (40 seconds, 30 seconds, and 20 seconds) for use in video cues. There is also sheet music and guitar tab there.

*Septimal diatonic semitone/Major diatonic semitone on C = C♯ (Ben Johnston's notation). 15:14 = 119.44 cents. Limit: 7-limit.

*Pythagorean minor tone on C = D- (Ben Johnston's notation). 10:9 = 182.40 cents. Limit: 5-limit. MIDI pitch bend: 47,58

*Hundred-forty-fifth harmonic on C = D (Ben Johnston's notation). Just: 144:128 = 215.89 cents. Limit: 29-limit. MIDI pitch bend: 11,69

*Major semitone/Minor diatonic semitone on C = C17♯ (Ben Johnston's notation). 17/16 = 104.96 cents. Limit: 17-limit. 17th harmonic.

Major triad on F in second inversion

Major triad on C in second inversion.

*Bohlen-Pierce major second on C. Just: 25:21 = 301.85 cents. Limit: 7-limit. MIDI pitch bend: 75,64

C major triads played on piano: 1) root position, 2) first inversion, 3) second inversion

Deceptive cadence in Mozart's Sonata in C Major, K. 330, second movement.

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in second inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is second-first-second-root/second-first-second-root-second)

Start of second subject (D major) of Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 13–16.

Schubert, Trio in E flat, second movement, closing bars

Schubert Trio in Eb, second movement, bars 86-89

Schubert, Trio in E flat, second movement, bars 1-6

Schubert, Trio in E flat, second movement, bars 21-26

Schubert, Trio in E flat, second movement, bars 86-89

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

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

Chord progression with a borrowed chord second: v or Gm in C major.

Chord progression with a borrowed chord second to last: iv or Fm in C major.

Excerpt from the second movement of the concerto poloniosy by Georg Philipp Telemann

Diagonal barre chord: major seventh chord on G. The first finger fingers both the second fret on the first four strings and the third fret on the sixth string.

Second Suite in F for Military Band "III. Song of the Blacksmith" performed by the 553rd United States Air National Guard Band of the Northeast. Track 4 from Golden Anniversary (1992). Major Patrick M. Jones, commander and conductor.[1][2]

Second Suite in F for Military Band IV. "Fantasia on the Dargason" performed by the 553rd United States Air National Guard Band of the Northeast. Track 5 from Golden Anniversary (1992). Major Patrick M. Jones, commander and conductor.[1][2]

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in first inversion and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is first-root-first-second/first-root-first-second-first)

Passamezzo moderno/"Gregory Walker" chord progression in C major, beginning with tonic chord in root position and continuing using minimal-change and "closest-packing" rules (minimizing each voice's change from previous note and keeping each chord's notes as close to each other as possible; resulting order of inversions is root-second-root-first/root-second-root-first-root)

Second Suite in F for Military Band "II. Song Without Words, I'll Love My Love" performed by the 553rd United States Air National Guard Band of the Northeast. Track 3 from Golden Anniversary (1992). Major Patrick M. Jones, commander and conductor.[1][2]

Second Suite in F for Military Band I. "March: Morris dance, Swansea Town, Claudy Banks" performed by the 553rd United States Air National Guard Band of the Northeast. Track 2 from Golden Anniversary (1992). Major Patrick M. Jones, commander and conductor.[1][2]

In the range of three octaves, sung by me in 13 tracks. Not completely in tune. The first one is unedited sound. The second is transposed an octave lower. The third is transposed two octaves lower. In the fourth all the latter are sounded together (39 voices). The transposing makes a peculiar effect to the voice specially in the second (12 semitone) transposition.

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

Five is four: a polyrhythmic analog-synth loop with ambiguous five or four time signature. Slightly frantic sounding, arpeggiator-like rising pattern a bit like a shepard tone, it's a 5/4 pattern, but accents are distributed in 4/4. 180 bpm, key is a-minor (a-minor then f-major). Two loops marked in wav file, first is the bare synth pattern, loop is samples 0 to 640,000; second is with a pad, loop is samples 960,000 to 1,600,000.