1,052 Royalty-Free Audio Tracks for "Quarter Tone"

Berg violin concerto tone row

C6add9 chord.

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.

Tone row of Webern's Variations for piano, op. 27.

Pavane (Belle qui tiens ma vie) of Thoinot Arbeau (Renaissance composer), played on a grand piano in meantone temperament Vierstimmige Pavane (Belle qui tiens ma vie) des Renaissance-Komponisten Thionot Arbeau, gespielt auf einem Konzertflügel in mitteltöniger Stimmung

Some detuned harps - tuned in quartertones recorded in big concert hall with olympus ls11.

Example 12 from Stockhausen's article "… wie die Zeit vergeht …", illustrating with a version of the series from Gruppen fur drei Orchester that, "if you start from the intervals of a proportion series, then with every step forward the register of each duration is also already chosen" (Stockhausen 1963b, 117). There are "a number of basic durations, indicated in metronome marks and corresponding with the pitch proportions within the series, reaching far as the octave positions (basic duration units)" (Leeuw 2005, 174), or "a duration scale which changes its 'time register' … corresponds to a twelve-tone scale that extends over more than one octave" (Misch 1998, 157–58).

Prime form of five note tone row from Igor Stravinsky's In memoriam Dylan Thomas.

Tone mixtures for Group I of Studie II. First five pitches (Group I: 1). G♯=100 Hz.

Tone row from Stockhausen's Klavierstück IX.

viio/V - V - I chord progression. Common in ragtime.

Tone proportions of Studie I. I took F♮ as the starting point.

Tone row with Schoenberg's initials preceded by remaining four notes.

Secondary leading tone in Beethoven Sonata in C for piano Op. 53, first movement.

Prime row form from Stravinsky's Requiem Canticles.

Rudiments of the 12-note series from Stockhausen's Klavierstück III (Leeuw 2005, 176–77). Created by Hyacinth (talk) 01:36, 20 October 2010 using Sibelius 5.

Diminished seventh chord on B.

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.

The opening theme to Rimsky-Korsakov's Scheherazade is, "simply a descending whole-tone scale with diatonic trimmings." See Abraham, Gerald. "The Whole-Tone Scale in Russian Music", p.602, The Musical Times, Vol. 74, No. 1085. (Jul., 1933), pp. 602-604.[non-whole-tone scale notes in red].

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.)

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

Dominant seventh raised ninth vs dominant seventh split third chord.

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

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

Common-tone diminished seventh chord.

Beispiel einer Shepard-Tonfolge; Scheinbar unendlich tiefer werdender Ton Example for a Shepard tone

All harmonics from 16 to 32 as a tone cluster, primarily of seconds, then arpeggiated.

Leading-tone half-diminished seventh chord as dominant in Mozart, Piano Sonata in D Major, III (end of Variation V), K. 284, mm.14-17.

Chord progression (half note open guitar chords) for the widely recorded ragtime influenced song written in 1923 by Jimmy Cox, "Nobody Knows You When You're Down and Out". It features chromaticism through chains of secondary dominants (III = V/V/V/V = V/vi, VI = V/V/V = V/ii, II = V/V, and V) and a secondary diminished seventh chord (viio7/V=♯IVo7).

Diminished triad on B, as MIDI

Whole tone scale on B. Created by Hyacinth (talk) 01:01, 6 July 2010 using Sibelius 5.

Secondary leading-tone chord from Purcell's Z. 669, III, mm. 9-13.

Secondary half-diminished leading-tone chord in Brahms Op. 119, no. 3, mm.49-51.

Schoenberg - Variations for Orchestra op. 31 tone row.

Leading-tone seventh chord in C minor.

Common-tone diminished seventh chord in 'In the Good Old Summertime', Strictly Barbershop, S.P.E.B.S.Q.S.A. (Barbershop Harmony Society), Folio 6049.

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."

Webern's Concerto Op. 24 tone row, composed of four trichords: P RI R I.

Tone row for Milton Babbitt's Composition for Four Instruments.

Schoenberg - Piano Piece op.33a tone row.

Secondary leading-tone chord: viio7/V - V in C major. Created by Hyacinth (talk) 05:18, 23 May 2010 using sibelius 5.

Leading-tone seventh chord in C major.

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.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

English: Chopin Prelude, Op. 20, No. 10 (1832) opening. Consecutive diminished seventh chords as whole tone scale harmony. Piston analyses viio as Vo9 with a missing root.

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

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.