15,464 Royalty-Free Audio Tracks for "Sequence Of Tones"

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

Berg's Alwa tone row from Lulu on C.

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

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

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

Berg's Lulu Schoolboy tone row on C.

Schoenberg - Variations for Orchestra op. 31 tone row.

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."

Schoenberg - Piano Piece op.33a tone row.

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

Berg violin concerto tone row

C6add9 chord.

Nederlands: demo kwarttonenquartertones

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

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.

A 1500 Hz tone broadcast by WWV, the radio station of the United States National Institute of Standards and Technology.

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).

Tone row from Stockhausen's Klavierstück IX.

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

Prime row form from Stravinsky's Requiem Canticles.

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

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.

Combinatorial tone rows from Moses und Aron by Arnold Schoenberg pairing complementary hexachords from P-0/I-3.

Ninth vs added-ninth chord.

Common-tone diminished seventh chord (♯vio42, in D major: b♯o7) in Tchaikovsky's Nutcracker Suite, op. 71a, III, Valse des Fleurs, mm.1-4.

A thirteenth chord "collapsed" into one octave results in a dissonant, seemingly secundal[1] tone cluster. Created by Hyacinth (talk) 22:18, 5 July 2009 using Sibelius 5.

Motherchord (Mutterakkord), pyramidal (symetrical) chord. A G# E C# B F# C♮ F♮ G Bb D Eb = 0 e 7 4 2 9 3 8 t 1 5 6.

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

Mother chordMutterakkord

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].

Dominant seventh raised ninth vs dominant seventh split third chord.

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

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.)

Common-tone diminished seventh chord.

The A440 (A above middle C) tone, which is used as a general tuning standard for musical pitch. It is also broadcast by WWV, the radio station of the National Institute of Standards and Technology.

*1 step in 72 equal temperament on C. Equal-tempered: 21/72:1 = 16.67 cents. MIDI pitch bend: 43,69 Created in Sibelius with midi pitch bend on 69 for 15.625 cents rather than 16.667. New version a PU on 43,69 for 16.6748046875 cents.

Webern's String Quartet Op. 28 tone row, composed of three tetrachords: P I RI, with P = the BACH motif.

This is a whole tone scale beginning on middle-C, created by me using Lilypond and TiMidity.

Русская народная песня «Галицийские поля».

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.

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

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

*19-limit seventh tone on C = C (Ben Johnston's notation). Just: 57/56 = 30.64 cents. Limit: 19-limit. MIDI pitch bend: 103,73

Common-tone modulation between chromatic mediants in Mozart's K. 475, mm. 24-26.