1,204 Royalty-Free Audio Tracks for "Microtonal Equal Temperament Intervals"

Debussy's Pelléas et Mélisande motif, at Mélisande's entrance and later when Golaud asks if she ever loved Pelléas, features, in addition to the already usual ninth, a thirteenth inverted to a "warm" close-position fourth.

*Hundred-seventy-first harmonic on C = F+ (Ben Johnston's notation). Just: 5:4 = 501.42 cents. Limit: 19-limit. MIDI pitch bend: 58,64

Thirteenth chord CMA13(sharp11).

*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

*Ninety-third harmonic on C = F♯+ (Ben Johnston's notation). Just: 93/64 = 646.99 cents. Limit: 31-limit. MIDI pitch bend: 5,79

*Ninety-first harmonic on C = G♭ (Ben Johnston's notation). Just: 91/64 = 609.35 cents. Equal-tempered: 26/12:1 = 600 cents. Limit: 13-limit. MIDI pitch bend: 127,66

One of four 'Link' chords, all-interval twelve-tone sets containing an all-trichord hexachord.

Gruppen tone row (Stockhausen 1963b, 116; Harvey 1975, 58; Misch 1998, 161; Whittall 2008, 185).

Ratio between pitch and length of an organ pipe: octaves.

Dominant thirteenth chord in Claude Debussy's Prelude to the Afternoon of a Faun (1894). Created by Hyacinth (talk) 02:50, 5 July 2009 using Sibelius 5.

Istrian mode as subharmonics 14 through 7 on C: D-, E↓, F, G↓, A♭, B♭-, C, D-' = D, E, F, G♭, A♭, B♭, C, D'.

*Just augmented fifth on C = G♯. 25:16 = 772.63 cents. Limit: 5-limit. MIDI pitch bend: 31,55

A Hard Day's Night opening chord: F9. Created by Hyacinth (talk) 03:11, 14 September 2012 (UTC) using Sibelius 5.

A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.

Picardy third in Bach - BWV 81.7, mm. 12-13. Created by Hyacinth (talk) 00:21, 13 July 2011 (UTC) using Sibelius 5.

Slonimsky's Pyramid chord. A G# F# D# B F# C♮ F♮ A C D♮ Eb = 0 e 9 6 2 9 3 8 0 3 5 6.

*Just augmented second (75th harmonic) on C = D♯ (Ben Johnston's notation). 75:64 = 274.58 cents. Limit: 5-limit. MIDI pitch bend: 111,55

Sound of keys over a metal fence. Applied a soft equalizer effect high magnification.

One more kick. . .

. . . Kick. . .

. . . Kick. . .

Grandmother chord (Grossmutterakkord), first used by Nicolas Slonimsky. A G# Bb G B♮ F# C F♮ C# E D Eb = 0 e 1 t 2 9 3 8 4 7 5 6.

All-trichord hexachord (6-Z17). Created by Hyacinth (talk) 12:03, 22 September 2010 using Sibelius 5.

Istrian mode as subharmonics 14 through 7 on C: D-, E↓, F, G↓, A♭, B♭-, C, D-' = D, E, F, G♭, A♭, B♭, C, D'.

The range of a Jew's harp as string harmonics:“By using the cavity of the mouth as a resonator, each harmonic in succession can be isolated and reinforced, giving the instrument the compass shown. The lower harmonics of the series cannot be obtained, owing to the limited capacity of the resonating cavity. The black notes on the stave show the scale which may be produced by using two harps, one tuned a fourth above the other.” This file plays harmonics 4, 5, 6, 7, 8, 9, 10, 11, and 12.

Schubert - op.9 D.365, mm.17-24. Modulation using German sixth in new key, enharmonic to dominant seventh in old key.

Motherchord (Mutterakkord), pyramidal (symetrical) chord. A G# E C# B F# C♮ F♮ G Bb D Eb = 0 e 7 4 2 9 3 8 t 1 5 6.

Mother chordMutterakkord

Created by Hyacinth (talk) 22:55, 13 July 2011 (UTC) using Sibelius 5. "I Heard the Voice of Jesus Say", Kingsfold, harmony by Ralph Vaughan Williams, final four measures, flute and piano. Source: Denise LaGiglia, Anna Belle O'Shea (2005). The Liturgical Flutist: A Method Book and More, p.166. ISBN 9781579995294.

Created by Hyacinth (talk) 22:55, 13 July 2011 (UTC) using Sibelius 5. "I Heard the Voice of Jesus Say", Kingsfold, harmony by Ralph Vaughan Williams, final four measures, flute and piano. Source: Denise LaGiglia, Anna Belle O'Shea (2005). The Liturgical Flutist: A Method Book and More, p.166. ISBN 9781579995294.

Breathless kick.

This is another matrix-inspired sound file, it is my rendition of an audible hive within the fields of the matrix pods, where human thoughts are focused.

A major chord + minor 7th with following samples (listed in order):an equal tempered arpeggiothe matching equal tempered chordan arpeggio with just intonationthe matching chord with just intontation.

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

I cut out some parts of the "badoink audacity base loop" (id:540779) and did my best to make a simple song using only audacity. It wasn't easy lol, i used several effects from audacity itself: reverb, echo, pluck, distortion, equalization, amplify, change speed, change pitch and tone generator. The end result is not a masterpiece, but it was nice to participate in this challenge, thanks badoink.

As a homage to freesound. Org for being a member for over 7 years under the name "djeuphoria", i present the freesound community with some unique sounds i've created recently using loads of different plugins and synthesizers that i've been acquiring over the years that has slowly turned into a massive collection. So with that being said i'm going to be periodically adding sounds to my "dream sample pack" so you can all hear the sounds i've been creating under my new nickname "dream", thank you all for the downloads, its awesome to see how terrible my sound quality was and how much i've improved from that, enjoy these awesome synth sounds i've engineered, cheers. -dreamp. S, most of the melodic sounds are recorded in the key of c for convenience and all foley sounds are recorded with a zoom h4 at 44khz.

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

Draft sound.

A little piece of music i made for my youtube channel.

I used the "the challenge. Wav" base (id: 561988) and made a simple melody with a synth, added effects and some beats. I used some fl studio effects: reverb, echo, distortion, equalization, amplify, low-fi effect, low-pass, drums and synthesizer. Amazing challenge as always, thanks badoink.

Morning alarm clock buzzing.

Five-minute meditation timer. There is a tone at the beginning, the halfway point, and at the end. Mono, mp3.

Some say 528hz and 741hz is a devil interval, and you can get hurt or even been dead by listening to one. Some don't give a crap what others are saying. So take it on your own risk. God bless!.

This is the interval crowd from the play blithe spirit that ran at the basin theatre in 2019. They've all had a good laugh and their about to go back into the theatre and have some more. Although this is an australian crowd i don't think you can hear any distinct voices or words. It's a happy murmuring.

Mix made from recordings by children at fundació tàpies during "so amunt, so avall". A sons de barcelona’s workshop based in interval exhibition. 13/12/14.

H4n onboard mics at 24/48. No windshield, so apols for occasional noise. Recorded aug 2012 at shakespeare's globe.

Smiths interval clock timer ticking and 10 second alarm bell. As a courtesy if you download my sounds please subscribe to my youtube channel: https://www. Youtube. Com/user/mycompasstv thanks!. See video of sound here: https://youtu. Be/qi9agykpmf0. ► support us via paypal: https://www. Paypal. Me/mycompasstv many thanks!.