3,636 Royalty-Free Audio Tracks for "Musical Intervals On C Sharp"

*Novendecimal augmented unison on C = C♯. Just: 20:19 = 88.80 cents. Limit: 19-limit. MIDI pitch bend: 53,92 on PU

*Greater 53-limit sixth tone on C = ??. Just: 54/53 = 32.36 cents. Limit: 53-limit. MIDI pitch bend: 45,74

*Lesser tridecimal two-third tone on C = D. Just: 14:13 = 128.30 cents. Limit: 13-limit. MIDI pitch bend: 7,73

*Undecimal two-fifth tone on C = C↑-. Just: 22:21 = 80.54 cents. Limit: 11-limit. MIDI pitch bend: 99,89 on PU

*Lesser 59-limit seventh tone on C = ?. Just: 60/59 = 29.10 cents. Limit: 59-limit. MIDI pitch bend: 39,73

*Novendecimal minor second on C = D♭-. Just: 19:18 = 93.60 cents. Limit: 19-limit. MIDI pitch bend: 122,93 on PU

Fifteenth chord from Perry on C

Chromatic scales down, played on a digital piano (Yamahe CLP-470) Chromatische Tonleitern abwärts, gespielt auf einem Digitalpiano (Yamaha CLP-470)

Aeolian mode on A. No pitch bend.

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 07 Prelude No. 4 in C-sharp minor, BWV 849

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 06 Fugue No. 3 in C-sharp major, BWV 848

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 05 Prelude No. 3 in C-sharp major, BWV 848

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 08 Fugue No. 4 in C-sharp minor, BWV 849

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 05 Prelude No. 3 in C-sharp major, BWV 848

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 07 Prelude No. 4 in C-sharp minor, BWV 849

Prélude en Do dièse mineur de Sergueï Rachmaninov (Morceaux de fantaisie, op. 3) joué par Sergei Rachamninoff lui même

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 06 Fugue No. 3 in C-sharp major, BWV 848

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 08 Fugue No. 4 in C-sharp minor, BWV 849

7sus4 chord on C

Ogg Vorbis sound file of C Harmonic Minor

*Difference between 17:16 (C17#) & 25:24 (C#) on C = C17 (Ben Johnston's notation). Just: 51 : 50 = 34.28 cents. Limit: 17-limit. MIDI pitch bend: 124,74

*Tritave (compound just perfect fifth) on C = G'. 3:1 = 1901.96 cents. Limit: 3-limit. Play by clarinets.

Tritave dyad (interval)

Miracle scale, derived from the secor (s = 116.72 cents), plus the difference between 10 secors and a perfect octave (q = 32.84 cents). MIDI pitch bend appears to match intervals. The Miracle scale is 0 1 2 3 4 5 6 7 8 9 0' s s s s s s s s s s+q The difference between s and q (r) is used in the File:Blackjack scale.mid.

C majorΕλληνικά: Η συγχορδία ΝΤΟ μείζονα

Created using Sibelius.

Blackjack scale, derived from the secor (s = 116.72 cents), the difference between 10 secors and a perfect octave (q = 32.84 cents), and the difference between that and a secor (r = s-q = 83.88 cents). MIDI pitch bend appears to match intervals. If the Miracle scale is 0 1 2 3 4 5 6 7 8 9 0' s s s s s s s s s s +q q +r q +r q +r q +r q +r q +r q +r q +r q +r q +r +q then the Blackjack scale is 0 >0 1 >1 2 >2 3 >3 4 >4 5 >5 6 >6 7 >7 8 >8 9 >9 <0 0' q r q r q r q r q r q r q r q r q r q r q

B diminishedΕλληνικά: Η συγχορδία ΣΙ ελαττωμένη

Modulation von Heinrich Schütz aus SWV 379

Susie Bell was collected 1882 by Frederick Augustus Packer

An OGG file that plays a C chromatic scale

Minor triad on C

C-F-B Synthetic chord

Major triad on F in root position. Created by Hyacinth (talk) using Sibelius 5.

Simplest type of metric modulation in Bach. Slow introduction followed by Allegro, traditionally taken twice as fast. Eighth notes in the new tempo prepared by sixteenth notes in the old tempo ( = ).

Tritone substitution. F♯7 may substitute for C7, and vice versa, because they both share E♮ and B♭/A♯ and due to voice leading considerations.

a kind of chord

In a triadic context chords with omitted thirds may be considered "indeterminate" triads.

Tonic and dominant in C. C major and G major chords.

Aeolian scale of C

Canción popular (Dominio publico): Romanza española. Interpretada por la Maestra Alisa Gladyseva.Popular song (public domain): Spanish Romance. Performed by the Master Alisa Gladyseva.

Tell me pretty maiden from Leslie Stuart and Owen Hall's Florodora (1899 in London; 1900 on Broadway). Sung by the "Edison Sextette" (Ada Jones, George S. Lenox, Corinne Morgan, Grace Nelson, Bob Roberts and Frank C. Stanley) for Edison Records. It Edison Gold Moulded Record #8260. Florodora was the first big hit musical of the 20th century. "Tell me pretty maiden" was the runaway hit. "Tell me pretty maiden" is a double sextet, sung by six girls, matched in looks, all 5'4" inches tall and 130lbs, and their six suitors. This recording cuts their number in half, since, although it is difficult to get six people in front of a recording horn, it is even more difficult to get twelve.[1] This recording consists of only the first verse. A vocal score is available at The International Music Score Library Project.

*Thirty-first subharmonic on C = D♭- (Ben Johnston's notation). Just: 32:31 = 54.96 cents. Limit: 31-limit. MIDI pitch bend: 75,81 on PU

*Hundred-seventeenth subharmonic on C = D-. Just: 128/117 = 155.56 cents. Limit: 31-limit. MIDI pitch bend: 99,49

*257th harmonic on C = ??. Just: 257:256 = 6.75 cents. Limit: 257-limit. MIDI pitch bend: 20,66

*Sixty-fifth harmonic on C = C. Just: 65:64 = 26.84 cents. Limit: 13-limit. MIDI pitch bend: 75,72

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.

*3 steps in 5-et on C. Equal-tempered: 23/5=6/10=9/15:1 = 720 cents. MIDI pitch bend: 51,70

Melodic upper leading-tone, the subdominant/degree four (E♭) as auxiliary to the mediant/degree three (D) (in C this would be F and E♮). From the opening to Brahms Op. 56.