739 Royalty-Free Audio Tracks for "Three"

*Three-hundred-thirty-third harmonic on C = E♯+. Just: 333/256 = 455.25 cents. Limit: 37-limit. MIDI pitch bend: 87,49

*Three-hundred-eighty-seventh harmonic on C = G. Just: 387/256 = 715.43 cents. Limit: 43-limit. MIDI pitch bend: 119,68

*Three-hundred-forty-first harmonic on C = E↑. Just: 341/256 = 496.35 cents. Limit: 31-limit. MIDI pitch bend: 106,62

*Three-hundred-sixty-ninth harmonic on C = F♯+. Just: 369/256 = 632.97 cents. Limit: 41-limit. MIDI pitch bend: 70,74

*Three-hundred-twenty-fifth harmonic on C = E. Just: 325/256 = 413.16 cents. Limit: 13-limit. MIDI pitch bend: 26,68

*Three-hundred-sixty-third harmonic on C = F↑. Just: 363/256 = 604.59 cents. Limit: 11-limit. MIDI pitch bend: 60,65

*Three-hundred-seventy-fifth harmonic on C = F+. Just: 375/256 = 660.90 cents. Limit: 5-limit. MIDI pitch bend: 62,51

*Three-hundred-fifty-seventh harmonic on C = F♯+. Just: 357/256 = 575.74 cents. Limit: 17-limit. MIDI pitch bend: 30,56

Up and Down This World Goes Round, three voice round by Matthew Locke. Italiano: "Su e Giù questo mondo va in giro", tre voci di Matthew Locke.

*Three-hundred-ninety-first harmonic on C = F+. Just: 391/256 = 733.23 cents. Limit: 23-limit. MIDI pitch bend: 81,74

*Three-hundred-forty-fifth harmonic on C = E♯+. Just: 345/256 = 516.54 cents. Limit: 23-limit. MIDI pitch bend: 37,69

*Three-hundred-seventy-seventh harmonic on C = B♭. Just: 377/256 = 670.10 cents. Limit: 29-limit. MIDI pitch bend: 55,54

*Three-hundred-ninety-ninth harmonic on C = A♭+. Just: 399/256 = 768.29 cents. Limit: 19-limit. MIDI pitch bend: 109,53

sound sample of a small bansuri of key E (white three).

*Three-hundred-forty-third harmonic on C = G♭+. Just: 343:256 = 506.48 cents. Limit: 7-limit. MIDI pitch bend: 9,66

Three Little Drummers from the George Washington Show by The United States Army Old Guard Fife and Drum Corps

Sound sample of a djembe at medium pitch, illustrating the three basic sounds (bass, tone, slap). The sample starts with a binary call, plays three cycles of the accompaniment pattern, and ends with a call. The accompaniment is "passport with a bass": s..ss.tts.bss.tt"

3:2 polyrhythm for comparison with the Habanera tresillo rhythm.

Three voice canon, each voice starting a measure later and a fifth lower.

A synthesized rendition of Wolfgang Amadeus Mozart's "A Musical Joke" (German: "Ein musikalischer Spaß", K. 522), played on three violas staccato, three violas pizzicato, one cello pizzicato, and one English horn.

Three ruffles and flourishes and "General's March" performed by the Concert Band of the United States Air Force Band. Track 13 from Esprit de Corps (1997).

Three ruffles and flourishes and "Flag Officer's March" performed by the Concert Band of the United States Air Force Band. Track 17 from Esprit de Corps (1997).

Stomp progression two-measure three-chord harmonic cycle. F F#dim7 C7/G C7.

Habanera rhythm (tresillo) and 3:2 polyrhythm alternating for comparison.

Compound duple drum pattern: divides two beats into three. Created by Hyacinth (talk) using Sibelius 5.

Shema: The first of three paragraphs (Deut. 6:4-9) recorded by J-J Tilsen, with an authentic Minnesotan Biblical accent

Three European Carols I. "Fum, Fum, Fum - Spanish" performed by the Concert Band of the United States Air Force Heritage of America Band. Track 4 from Holly and Ivy (1993). Recorded in 1993 at Chrysler Hall in Norfolk, Virginia.[1][2][3]

sound sample of a bass bansuri played of tonic E(white three).

*Square root of three on C. √3 = 950.98 cents. MIDI pitch bend: 40,48

8-tone equal tempered scale, composed of three-quarter tones. MIDI pitch bend matches intervals.

Performed by the United States Navy Band's Ceremonial Band. Featured on the 1990s album Music For Honors and Ceremonies.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the first piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the fourth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the second piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the fifth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the third piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the sixth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

Performed by the United States Navy Band's Ceremonial Band. Featured on the 1990s album Music For Honors and Ceremonies.

Phrase group of three four bar phrases in Mozart's Piano Sonata in F, K. 332, first movement.

Excerpt from a radio broadcast featuring Gus Arnheim & His Orchestra with vocals by Harry Barris and "three Ambassadors."

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

*361st harmonic on C = G♭. Just: 361/256 = 595.03 cents. Limit: 19-limit. MIDI pitch bend: 52,94

Henry V, William Shakespeare Act III, scene vi "HENRY: I tell thee, herald, I thought upon one pair of English legs Did march three Frenchmen."

Three beta chords on C♯. C♯, E, G, B♭, C♮; C♯, E, G, C♮; and C♯, G, C♮.

*Neutral second/three-quarter tone on C = D. Equal-tempered: 21/8=3/24:1 = 150 cents. MIDI pitch bend: 0,48 Preceded by:File:Quarter tone on C.mid

Example of atonal music which avoids octaves, avoids major and minor triads, avoids more than three notes from the same diatonic scale, and avoids conjunct melodies/uses disjunct melodies. From Schoenberg's Klavierstucke, Op. 11, No. 1.

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.

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.

The Polka from Bedřich Smetana's The Bartered Bride, played in an transcription by the U.S. Marine Band for the album Courtly Dances.

The first three, and final verses of Through the Years. Originally "Tyle Lat" and later translated into English. Written c. 1920 by Francis Hodur, and translated in 1921 by the Fourth Synod of the PNCC.

The Dance of the Comedians from Bedřich Smetana's The Bartered Bride, played in an transcription by the U.S. Marine Band for the album Courtly Dances.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the second piece in a set of three published in 1893, and the second piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the first piece in a set of three published in 1893, and the first piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.