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
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).
Bohlen-Pierce chord: 0,1,2 (semitones), the most dissonant chord. Currently at 0, 169.75, and 310.88 cents. Title refers to number of semitones (unison=0).
Author: Created by Hyacinth (talk) 06:56, 25 November 2010 in Sibelius.
Harmonic seventh chord on C. Equal tempered major chord with quarter tone flat minor seventh (950 cents). Created by Hyacinth (talk) 18:56, 10 November 2011 with Sibelius 5.
Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C to C between the second and third chords. Note that there is no common chord.
Author: Image: Created by Hyacinth (talk) 03:29, 21 March 2010 using Sibelius 5. Music: Bach
Piano Roll recording of Scott Joplin playing "Maple Leaf Rag" in 1916. Midi conversion by PlayerRoll, and found at: http://www.pianola.co.nz. Re-recorded as audio by Major Bloodnok using Cubase. 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. Original UniRecord, 1916. Maple Leaf Rag published 1899. Українська: Скотт Джоплін грає композицію реґтайму «Maple Leaf Rag» у 1916 році.
MIDI synthesized rendering of a 14th-century Rondeau, "Doulz viaire gracieus" by Guillaume de Machaut. Produced with Lilypond, after an edition of the piece in Eggebrecht, Hans Heinrich Musik im Abendland, Munich: Piper, p. 237
Midi recorded at the keyboard and processed through music maker's virtual drum synth. One of ten electronic drum loops with a tribal beat and human sound.
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 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.
Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 2010 using Sibelius 5.
This sound consists of sine waves only playing the musical note c, each for a total of 10 seconds. Rendered as a 200/32 wav file (linear pcm, 32 bit little-endian floating point, 200000 hz) in audacity.
Example of figured bass in context. Implied pitches written in small, stemless type above bass voice. Taken from Beschränkt, ihr Weisen, by J.S. Bach. (Riemenschneider no. 47/69.) Final chord added.
Loop from our last session (https://soundcloud. Com/tonux-gix/journey-to-dusk-yemptiness-2). Midi/osc lines generated with pure-data and then rendered it in muse-sequencer using deicsonze and zynaddsubfx synths.
Regular diatonic tuning 72-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS. In 12-tone, T=200 cents and S=100 cents. In 72-tone, T=233.3 cents and S=16.6. This is that scale: C = 0 D = 233.3 E# = 466.6 F# = 483.3 G = 716.6 A = 950 B# = 1183.3 C = 1200
Composer: César Cui (1835-1918) Title: Gloria Patri and Wedding Recessional from the opera "The Saracen" Printed source: Piano-vocal score published in Moscow by P. Jurgenson, 1899. This is a rudimentary MIDI arrangement and Ogg recording therefrom made by Mllefifi, Nov. 29, 2005 The music itself is in the public domain. Mllefifi is making this audio file available to promote the composer and for whatever other use can be made of it, besides linking it to the article "The Saracen (opera)".
Author: No machine-readable author provided. Mllefifi assumed (based on copyright claims).
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
Author: The original uploader was Hyacinth at English Wikipedia.
Old Swedish folk melody, recently combined with the evening prayer Nu sjunker bullret by Lars Thunberg, in German Der Lärm verebbt by Jürgen Henkys. Der Lärm verebbt (GL (2013) 100)
The melody of the folk song The Girl I Left Behind Me. Die Melodie des Volksliedes The Girl I Left Behind Me. La mélodie de la chanson populaire The Girl I Left Behind Me.
Modulation to the dominant in Haydn's Symphony in C Major, No. 97, Movement III Menuetto, measures 0-8 (piano reduction). Compiled from Murphy, Melcher, and Warch (1973). Music for Study, p.115. ISBN 0-13-607515-0; August Horn's piano reduction; and Howard Chandler Robbins Landon's full score edition. Roman numeral analysis added.
More 120bpm beats and stuff i made from scratch in live using midi instruments and the non sample based softsynth phoscyon to build up sounds from waves, then run them through compressors, distorters, destroyers, eqs, and textures.
Charles Ives, 3-Page Sonata, first mvt., first fugal complex. The BACH motif from The Art of Fugue Contrapunctus XIXc is the "'1st Theme'/fugue subject" of Ives' combined sonata-allegro and fugal procedures.
Author: Charles IvesImage created by Hyacinth (talk) 23:23, 17 April 2010 using Sibelius 5.
V of V in C, four-part harmony. Bruce Benward and Marilyn Nadine Saker (2003). Music: In Theory and Practice, Vol. I, seventh edition: p.269. ISBN 978-0-07-294262-0.
Listen track with nice and warm sound. Track features piano. Space pad. Plugins omnisphere, kontakt (drums of war2), (factory library). Bpm 100. Ableton 9,12 midi channels. More projects here: https://evaluationrecords. Com/shop.
A gregorian chant melody line with arpeggiated harmony played from digital keyboard into a music maker midi recording. I gave it a whirl with a vst synthesizer voice called men's cathedral, twirled lots of dials and this came out.
Syncopation (sfz) in Beethoven's String Quartet in A Major, Op. 18, no. 5, III, variation I, m. 7-8. Created by Hyacinth (talk) 19:26, 12 March 2011 (UTC) using Sibelius 5. For comparison: File:Beethoven - String Quartet in A Major, m. 7-8 without syncopation.mid
A single bar from "Fugue No.17 in A flat", BWV 862, displaying contrapuntal polyphony. The piece is part of J. S. Bach's Das wohltemperirte Clavier, Part I. See: File:BachFugueBar.png
J. S. Bach Sarabande of Partita for clavier nº 4 BWV 828 played on keyboard First published: 1728 as in https://imslp.org/wiki/Partita_in_D_major,_BWV_828_(Bach,_Johann_Sebastian) Other works on the same theme: https://www.8notes.com/scores/10177.asp?ftype=midi https://www.dailymotion.com/video/x2oulv3 Recorded by Millennium bug in February 2019
Author: Millennium bug playing music by Johann Sebastian Bach
Britten's twelve-tone 'Screw' theme [4]divides into equivalent tetrachords, each a segment of the circle of fifths: D-A-E-B, F#-C#-G#-D#, Bb-F-C-G. Created by Hyacinth (talk) 03:10, 7 January 2012 (UTC) using Sibelius 5.
Parallel universe track with nice sound. It can be perfectly used in cinematic projects. Track features plucked. Space pad. Plugins omnisphere 2, serum. Bpm 109. Ableton 9. 12 midi channels. Project file here: https://evaluationrecords. Com/shop/ regards, andrew kn.
Drops, track with nice and warm sound. It can be perfectly used in cinematic projects. Warm and sad pad. Plugins sylenth 1, massive, zebra 2. Bpm 70. Ableton 9. 8 midi channels. You will have fun. Project file here: https://evaluationrecords. Com/shop/ regards andrew kn.
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.
