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

Nederlands: demo kwarttonenquartertones

Double harmonic scale with quarter tones. Created by Hyacinth (talk) 07:11, 10 March 2010 using Sibelius 5. MIDI pitch bend appears to match intervals.

*Lesser 37-limit quarter tone on C = D-. Just: 38:37 = 46.17 cents. Limit: 37-limit. MIDI pitch bend: 99,78

*Greater 37-limit quarter tone on C = C♯. Just: 37:36 = 47.43 cents. Limit: 37-limit. MIDI pitch bend: 23,79 on PU

*Greater 29-limit quarter tone on C = C. Just: 29:28 = 60.75 cents. Equal-tempered: 21/24:1 = 50 cents. Limit: 29-limit. MIDI pitch bend: 56,83

*Lesser septendecimal quarter tone on C = D♭ (Ben Johnston's notation). Just: 35:34 = 50.18 cents. Limit: 17-limit. MIDI pitch bend: 7,80 on PU

24-tet scale on C (50 cent steps). Easley Blackwood, Jr.'s notation for 24 equal temperament. As only "ups" are used, there are no three-quarter flats and quarter flats are enharmonically spelled (Dd = C#↑). Pitches are split into two groups of 12. MIDI pitch bend is correct for intervals.

*Eighty-third harmonic on C. Just: 83/64 = 450.05 cents. Limit: 83-limit. MIDI pitch bend: 2,80

*Greater septendecimal quarter tone on C = C↓♯ (Ben Johnston's notation). Just: 34:33 = 51.68 cents. Limit: 17-limit. MIDI pitch bend: 69,80 on PU

*Lesser 29-limit quarter tone on C = C♯ (Ben Johnston's notation). Just: 30:29 = 58.69 cents. Equal-tempered: 21/24:1 = 50 cents. Limit: 29-limit. MIDI pitch bend: 100,82 on PU

A mean fifth (sine waves of 300 Hz and 448.6Hz) followed by a wolf fifth (300 Hz and 459.37Hz); intervals occur in quarter-comma meantone temperament.

*Quarter tone on C = C/D. Equal-tempered: 21/24:1 = 50 cents. Preceded by:'

*(Lesser) undecimal neutral second on C = D↓ (Ben Johnston's notation). 12/11 = 150.64 cents.

*Greater undecimal neutral second on C = D↑♭- (Ben Johnston's notation). 11/10 = 165 cents. Limit: 11-limit. MIDI pitch bend: 103,84 on m2

*Undecimal neutral seventh on C = B↑♭- (Ben Johnston's notation). 11:6 = 1049.36 cents. Limit: 11-limit.

*Undecimal neutral third on C = E↑♭- (Ben Johnston's notation). 11:9 = 347.41 cents. Limit: 11-limit.

*Undecimal neutral sixth on C = A↓ (Ben Johnston's notation). 18:11 = 852.59 cents. Limit: 11-limit.

Last chord of Anger's Tintamarre (The Clangor of Bells) (1911).

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

Cadence featuring an upper leading tone from a well known 16th-century lamentation, the debate over which was documented in Rome c.1540. (C-D).

A recording that shows the effect of a Shepard tone

Two examples of tone-cluster notation as first used by Henry Cowell.

*Quarter-comma meantone perfect fifth on C. 3:2÷(81:80)1/4 = 696.58 cents.

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

Tone row from "Tot" ["Lifeless"], Drei Lieder, Op. 48.

The intro to L'Isle Joyeuse, by Claude Debussy. Created by Hyacinth (talk) 06:38, 19 January 2012 (UTC) using Sibelius 5.

Quarter-comma meantone major chord on C.

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (g♯7 to A).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving (d7 to E-flat).

bdim7=do7=fo7=a♭/g♯o7 and it's enharmonic equivalents resolving (b7 to C).

bdim7=do7=fo7=a♭o7 and it's enharmonic equivalents resolving. (fo7 to G-flat)

Dominant form chord: Diminished leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Diminished seventh chord to dominant cadence (bo-e7-A7-D).

Dominant form chord: Diminished seventh leading-tone chord preceding tonic chord and possessing a secondary dominant function.

Pierre Boulez's Second Piano Sonata series. Created by Hyacinth (talk) 01:57, 19 October 2010 using Sibelius 5.

The tone row from the first movement of Alban Berg's Lyric Suite, according to Wolfgang Stroh.

Berg's Lulu Schoolboy tone row on C.

Berg's basic tone row from Lulu on C.

Tone row from the first movement of Alban Berg's Lyric Suite, according to George Perle.

Berg's Dr. Schön tone row from Lulu on C.

Berg's Lyric Suite Mov. VI tone row 2-P.

Berg's Lyric Suite Mov. VI tone row 1-P

Leading-tone diminished seventh chord as dominant in Mozart's Don Giovanni, K. 527, Act I, Scene XIII, mm.116-117.

Nono- Il Canto sospeso all-interval series, as Midi

Principal forms of Webern's tone row from Variations for piano, op. 27, movement 2.

Berg's Alwa tone row from Lulu on C.

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

Extract from Chalres-Valentin Alkan's 'Esquisses', no. 45, published 1861 in Paris.

Janacek Sinfonietta 2nd movement, opening bars

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.