704 Royalty-Free Audio Tracks for "Midi Music"

Actual score to accompany an analysis by Czerny (simplified) of the first measures of Chopin Study op. 10 n. 1.

Melchior Franck: Da pacem, Domine, in diebus nostris, vierstimmiger Kanon, in Tonika- und Dominantlage kombiniert

James Scott's "Grace and Beauty" (1909) - MIDI sequencing by Adam Cuerden, piano synthesis by Jujutacular

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

Caribbean Our Father, German adaption Vater unser, Vater im Himmel, Evang. Gesangbuch 188

This is my sequencing of the public domain piece Impromptu in C# minor, Opus 28 no. 3, by Hugo Reinhold, composed in the nineteenth century. It is identical to the version on Classical Music Archives, which means they determined there was no copyright problem.

Light string sound without melody. Made with a keyboard improvisation midi, processed through virtual synth in music maker as acoustic guitar, disguised with reverb, delay, echo and fx phasing into something that sounds almost like a gypsy cimbalom.

Former national anthem of Afghanistan used from 1992 to 2006. Composed by Ustad Qasim in 1919; he died in 1957.

Großes Präludium in e-Moll von Nicolaus Bruhns. Source: http://www.free-scores.com/download-sheet-music.php?pdf=158, according to that page public domain. The instrument has been changed to church organ and the tempering to Werckmeister III.

Gary Adams, File was created using Scala to convert a sequence file of the major intervals in equal temperament to midi. It was then converted to an ogg file.

Brobigdinian Gigue from Telemann's Gulliver Suite. Notated in 12/8, dotted quarter = 90.

Kanon Danket, danket dem Herrn; Evang. Gesangbuch 336; Gotteslob (1975) 283; Gotteslob (2013) 406

Lilliputian Chaconne from Telemann's Gulliver Suite. Notated in 3/4, quarter note = 120.

Development Haydn's Sonata in G Major, Hob. XVI: G1, I, mm. 29-53.

Ihr Engel, kommtIhr Engel, kommt, zu hindern,wo irgend Gottes Kindernein Unheil drohtmit Leid und Tod:Ach helft, die ihr's könnt lindern!

French sixth chord in Schubert's D.795, No. 5, "Am Feierabend" ("The Hour of Rest").

The opening of Vth of Beethoven's Seven Variations on "God Save the King" WoO 78 (1804) introduces Alberti bass patterns.

First eight bars of the 3rd movement of Ludwig van Beethoven's Piano Sonata No. 21 in C major, Op. 53, the Waldstein.

Singt dem König Freudenpsalmen, Eichsfelder Melodie, Gotteslob (1975) Hildesheim 825

Ich steh an deiner Krippen hier, melody, basso & harmonization: Johann Sebastian Bach (BWV 469); replenishment of basso, transposition to A minor & sound file: Rabanus Flavus (Peter Gerloff)

21-tet scale on C (57.14 cent steps). Easley Blackwood, Jr.'s notation for 21 equal temperament. Intervals are notated similarly to those they approximate and there are distinct enharmonic equivalents (E-sharp-down = F-down). MIDI pitch bend matches intervals.

Simple duple drum pattern: divides two beats into two. Created by Hyacinth (talk) 02:19, 20 July 2009 using Sibelius 5.

Use of the whole tone scale in Debussy's Voiles (1910), Prelude. 2, mm.1-4.

Combinatorial tone rows from Moses und Aron by Arnold Schoenberg pairing complementary hexachords from P-0/I-3.

Borrowed chord (viio 4 3) in Bach's Prelude in C Major from The Well-Tempered Clavier, Book I, BWV 846, mm. 13-15.

Opening measures of Chopin's "wrong note" etude Op. 25 No. 5, demonstrating a humorous use of the minor second. The original work is public domain, image created by the uploader.

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

Piano Sonata, K. 545 - Allegro 日本語: ヴォルフガング・アマデウス・モーツァルトのピアノソナタ K. 545第一楽章

Es ist genug, Schlusschoral der Kantate O Ewigkeit, du Donnerwort BWV 60; Melodie: Johann Rudolf Ahle

Piano Roll recording of Scott Joplin playing "Maple Leaf Rag" in 1916. The original Piano Roll had been scanned and converted to a MIDI file by PlayerRoll, but the work remains in the public domain. This is one of a number of rare recordings by Joplin. It also demonstrates the deterioration of his health, specifically its impact on his piano playing. Midi conversion by PlayerRoll, and found at: http://www.pianola.co.nz. Re-recorded as audio by Major Bloodnok using Cubase with a different piano sound. Slight echo added.

Soundscape of some pads. . Strange how the midi was created. . Used a granular device to create some sort of glitchy effect, then just converted that "melody" to midi in ableton, added stock ableton sound. And post processed to give it pad and ambience.

A rhythm midi made at the keyboard then processed through the dn-e1 virtual synthesizer in magix music maker daw.

Adagio (2nd movement) from Beethoven's Piano Sonata Op. 22, bars 31–33

Chord progression of La Folia theme, a common harmonic pattern in baroque music. After chord notation provided by User:Hyacinth at en:File:Later Folia.png. Self-made with Lilypond

Example of a tonal answer in J.S. Bach's Fugue no. 16 in G minor, BWV 861, from the Well-Tempered Clavier, Book 1 Comienzo de ejemplo de una respuesta tonal en una exposición fugada. este fichero Midi corresponde a la exposición de la Fuga número 16 en Sol menor (BWV 861) extraído del libro 1 de la obra El clave bien temperado de Juan Sebastián Bach

The fourteen-tone series on which the melody "Libra" from Karlheinz Stockhausen's Tierkreis is based. (From p. 151 of Jerome Kohl, "The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music", Perspectives of New Music 22, nos. 1 & 2 (Fall-Winter 1983/Spring-Summer 1984): 147–85.)

Pange, lingua, gloriosi corporis mysterium (Gotteslob (1975) 543/544; Gotteslob (2013) 493/494)

Sequential modulation in Schubert, Piano Sonata in E Major, D. 459, movement III.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

Ausschnitte aus Beethovens Klaviersonate Nr. 31, op. 110, Dritter Satz Excerpts from the third movement of Ludwig van Beethoven's Piano Sonata No. 31, Op. 110

Bach - Well-Tempered Clavier, Book I, Prelude I (C major, BWV 846), opening bars.

Syncopation (sfz) in Beethoven's String Quartet in A Major, Op. 18, no. 5, III, variation I, m. 7-8.

First 4 measures of the first movmemt of Ludwig van Beethoven's Piano Sonata in C-sharp minor "Moonlight", Op. 27, No. 2.

The most basic ride pattern in rock and other styles. References: Schroedl, Scott (2001). Play Drums Today!, p.9. Hal Leonard. ISBN 0634021850 Eighth-note ride pattern played with triplet swing.

Mirror forms, P, R, I, and RI, of a tone row (from Schoenberg's Variations for Orchestra op. 31): "Called mirror forms because...they are identical."

Bei stiller Nacht, zur ersten Wacht; Gotteslob (1975) Hildesheim 824; Gotteslob (2013) Hamburg-Hildesheim-Osnabrück 763

Bach, Sinfonia in F minor BWV 795, mm. 1-3. Created by Hyacinth (talk) 22:19, 17 April 2010 using Sibelius 5. See: :Image:Bach,_Sinfonia_in_F_minor_BWV_795,_mm._1-3a.png

Extended dominants/successive secondary dominants in Chopin's Op. 26, no. 1, mm.62-63. V/ii = V/V/V, V/vi = V/V/V/V.

Du mein Schutzgeist, Gottes Engel; Gotteslob (1975) Hildesheim 882; Gotteslob (2013) Hamburg-Hildesheim-Osnabrück 906

MIDI of "Ut Queant Laxis", an 8th century hymn best known for being the basis for Ut-Re-Mi-Fa-Sol-La, later modified to the familiar Do-Re-Mi-Fa-Sol-La-Ti. Each line begins with a note that moves up the scale from Do to La (Ti not being used in music of that period).