1,169 Royalty-Free Audio Tracks for "Test Tone"

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.

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.

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.

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

Janacek Sinfonietta 2nd movement, opening bars

Nederlands: demo kwarttonenquartertones

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.

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.

A song from The Remains of Tom Lehrer

Song from The Remains of Tom Lehrer

A 440hzsine tone recorded at 96khz 32bit. Uploaded mainly to test uploading to freesound but useful as a test tone just the same.

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.