42 Royalty-Free Audio Tracks for "Minor Thirds"

Octave and Minor third on C

Compound minor third on C (Augmented ninth), MIDI

Second septimal minor third on C = D♯-. Just intonation: 25/21 = 301.85 cents.

*Tridecimal minor third on C = E↓♭. Just: 13:11 = 289.21 cents. Limit: 13-limit.

*Quarter-comma meantone minor third on C. 6:5÷(81:80)1/4 = 310.26 cents.

*Minor third on C = E♭. Equal-tempered: 23/12:1 = 300 cents. MIDI pitch bend: 0,64

*Alpha scale minor third on C. (3 : 2)4/9 : 1 = 311.98 cents. MIDI pitch bend: 107,67 MIDI pitch bend on 108,67 for 312 cents

*Acute minor third on C = Eb+. Equal-tempered: 2243/200:1 = 337.15 cents. Limit: 5-limit. MIDI pitch bend: 114,75

*Septimal minor third on C = E♭ (Ben Johnston's notation). 7:6 = 266.87 cents. Limit: 7-limit.

*Just minor third on C = E♭ (Ben Johnston's notation). 6:5 = 315.64 cents. Limit: 5-limit. MIDI pitch bend: 1,69

*Septimal minor third on C = E♭ (Ben Johnston's notation). 7:6 = 266.87 cents. Limit: 7-limit. MIDI pitch bend: 51,53

*Pythagorean minor third (semiditone) on C = E♭- (Ben Johnston's notation). 32:27 = 294.13 cents. Limit: 3-limit. MIDI pitch bend: 15,62

Subminor third on G. 7:6 = 266.87 cents.

Minor tenth on C - As MIDI

*Superminor third on C = D♯-. 17:14 = 336.13 cents. Limit: 17-limit.

*Bohlen-Pierce scale: interval between C and A on C = A. Just: 7/6 = 266.87 cents. Limit: 7-limit. MIDI pitch bend: 51,53

The symmetry of Webern's tone row from Variations, Op. 30, is apparent from the equivalent, P1=IR1 and R12=I12, and thus reduced number of row forms, two, P and R, plus transpositions. Consisting of three related tetrachords: a and c consisting of two minor seconds and one minor third and b consisting of two minor thirds and one minor second. Notes 4-7 and 6-9 also consist of two minor seconds and one minor third. Created by Hyacinth (talk) 23:25, 19 October 2010 using Sibelius 5.

*Hundred-forty-third harmonic on C = E♭↑-. Just: 143/128 = 191.85 cents. Limit: 13-limit. MIDI pitch bend: 49,29

Picardy third example from Johann Sebastian Bach's cantata Ich habe genug, BWV 82 in G Minor at a cadence in the right-hand of a realised continuo part Created by Hyacinth (talk) 22:13, 13 July 2011 (UTC) using Sibelius 5.

Casio mt40 el piano sound multisample in minor thirds. Root keys and ranges are written into the headers, so the set should auto map in most samplers.

*9261st harmonic on C = E♭++. Just: 9261/8192 = 212.34 cents. Limit: 7-limit. MIDI pitch bend: 121,35 on m3

*79507th harmonic (H43/H43/H43) on C = E♭-. Just: 79507/65536 = 334.55 cents. Limit: 43-limit. MIDI pitch bend: 7,75

*1331st harmonic on C = E↑↑↑♭-. Just: 1331/1024 = 453.95 cents. Limit: 11-limit. MIDI pitch bend: 33,113 on m3

*Bohlen-Pierce scale: interval between C and D, semitone maximus on C = D. Just: 25/21 = 301.85 cents. MIDI pitch bend: 76,64

*Hundred-forty-seventh harmonic on C = E♭+. Just: 147:128 = 239.61 cents. Limit: 7-limit. MIDI pitch bend: 86,44

*Thirty-ninth harmonic on C = E♭. Just: 39/32 = 342.48 cents. Equal-tempered: 23/12:1 = 300 cents. Limit: 13-limit. MIDI pitch bend: 76,77

*Seventy-seventh harmonic on C = E↑♭ (Ben Johnston's notation). Just: 77/64 = 320.14 cents. Limit: 11-limit. MIDI pitch bend: 57,70

Minor third,just interval with granular time stretch.

*Septimal third-tone on C = D♭- (Ben Johnston's notation). Just: 28:27 = 62.96 cents. Limit: 7-limit.

W. A. Mozart; Piano Quartet No. 1 in G minor, K. 478, third movement: Rondo allegro

*Hundred-thirty-third harmonic on C = D♭. Just: 133/128 = 66.34 cents. Limit: 19-limit. MIDI pitch bend: 29,85

First 4 measures of the third movememt of Ludwig van Beethoven's Piano Sonata No. 8 in C minor (Pathétique), Op. 13.

*Two-hundred-third harmonic on C = A♭+. Just: 203:128 = 798.40 cents. Limit: 29-limit. MIDI pitch bend: 62,95 on P5

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

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

Just intonation minor chord from maurolupo’s “ahohe” (211961, “girl's voice singing”). Https://www. Freesound. Org/people/maurolupo/sounds/211961/. Used sonic pi to add a minor third (315. 641 cents) and a perfect fifth (701. 955 cents) while maintaining the duration. Code snippet:```sample dir, "ahohe"sample dir, "ahohe", pitch: 3. 15641sample dir, "ahohe", pitch: 7. 01955```.

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 = ?

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.

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.