998 Royalty-Free Audio Tracks for "Sixth Tones"

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.

Tone generated on a landline phone when phone line is active and ready for use. Created from scratch using signal generators.

Put my zoom h2n inside the oven and closed it for this.

I've put my zoom h2n inside an old pizza oven and closed it for this.

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.

Generated in audacity, this sine tone has an elevated pitch with lowered gain to emulate a generic censorship tone you would hear on public television. The tone is suitable for use in any field, most notably in video games, films or animations. Whether it's comical, functional or both, this tone is a viable resource for censorship detail.

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.

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.

A really deep beep tone i made because i felt like it.

Iphone-style call disconnect. Tone in 425 hz with 0. 2 delay.

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.

Vst: vacs free synthesizer.

Simply flageoleto tone e played on martin d1.

A 1000hz -18dbfs 30 second line up toneus.

Sinewave.

12hz bass tone.

*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

Use of the whole tone scale in Debussy's Voiles (1910), Prelude. 2, mm.1-4.

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

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

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

The opening eleven note chord from Aaron Copland's Inscape, without orchestration shown.

Ninth vs added-ninth chord.

911 dtmf dialing sound.