1,064 Royalty-Free Audio Tracks for "Three Tones"

*Third-tone/1 step in 18 equal temperament on C. Equal-tempered: 21/18:1 = 66.67 cents. MIDI pitch bend: 43,53

Berg's basic tone row from Lulu on C.

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

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

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

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.

Playing an e2 on the trombone three times.

Dry vocal recording of "a one, a two, a one two three four".

This is a drum pattern played by me for a song. It's a full mix of three microphones - one behind the kit, along with snare and kick drum mics.

Hello - my first sound uploaded. Just two 12 string guitars playing a gentle riff in 3/4 time at 135 bpm.

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.

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.

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.

Short tone sound from an ignition of a newer model truck.

This is version 2 of my 3 knocking on a door sound i used audacity to edit it and i recorded it with my yeti microphone. I thought that you could use it too. Use it for what ever you want but if you make over 1 million dollars off you aaa game / movie than you share the wealth lol but i would like to know what you use it for that is it credit would be nice but not necessary.

Three ways radio request from joshwalford. Https://www. Freesound. Org/forum/sample-requests/39685/.

A mofia discussing a reckless members actions. A young assistant is included. All the voices are by me, edited in audacity. Use wherever you want.

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).

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

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.

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

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.

A click track (generated in audacity) that sounds great as a timer. It runs for 9. 999 seconds (approximately 10). I hope you enjoy!. Thanks for checking this out, and be sure to check out my other sound effects!. P. S. I request that all my sound effects only be used for clean, appropriate media and projects. Thanks!.

Three boys screaming whooo.

Simple room tone.

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.)

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).