ไฟล์เสียงปลอดค่าลิขสิทธิ์ 4,292 ไฟล์สำหรับ "Midi"

Gott sei gelobet und gebenedeiet (Evang. Gesangbuch 214; Gotteslob (1975) 494; Gotteslob (2013) 215)

Schlesisches Volkslied Wenn mer suuntichs ei de Kerche giehn (Vorlage für Wir sind alle kleine Sünderlein)

Michael, row the boat ashore Hört, wen Jesus glücklich preist, Evangelisches Gesangbuch (Regionalanhänge)

5:7:9 is the first inversion of the major triad. Title refers to harmonics (fundamental=1:3:9:etc.).

Heilig, heilig, heilig ist der Herr, Gott Zebaot; Gotteslob (2013) Hamburg-Hildesheim-Osnabrück 715

Ehre sei Gott in der Höhe, Gotteslob (2013) Hamburg-Hildesheim-Osnabrück 816

Sagt an, wer ist doch diese (Gotteslob (1975) 588; Gotteslob (2013) 531)

Auf, Christen, singt festliche Lieder, Melodiefassung Gotteslob Eigenteil Freiburg/Rottenburg-Stuttgart

Komm, Heiliger Geist, Herre Gott (Evang. Gesangbuch 125; Gotteslob (1975) 247)

C Phrygian dominant scale. Created by Hyacinth (talk) 00:37, 5 July 2010 using Sibelius 5.

Mache dich, mein Geist, bereit (Evang. Gesangbuch 387); Herr, ich bin dein Eigentum (Gotteslob (2013) 435)

Ihr Engel, kommtIhr Engel, kommt, zu hindern,wo irgend Gottes Kindernein Unheil drohtmit Leid und Tod:Ach helft, die ihr's könnt lindern!

Vom Tode heut erstanden ist (Gotteslob (1975) 224; Gotteslob (2013) 324)

*Quarter tone on C = C/D. Equal-tempered: 21/24:1 = 50 cents. Preceded by:'

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

Tritone substitution and altered chord as, "nearly identical". Chords: C7, F♯7, and C7 +9 +5: Root 3rd 5th 7th 9th 11th 13th C

Simple duple drum pattern: divides two beats into two. Created by Hyacinth (talk) 02:19, 20 July 2009 using Sibelius 5.

Syncopation (sfz) in Beethoven's String Quartet in A Major, Op. 18, no. 5, III, variation I, m. 7-8.

Piano Sonata, K. 545 - Allegro 日本語: ヴォルフガング・アマデウス・モーツァルトのピアノソナタ K. 545第一楽章

Pc speaker sounds, recorded by mic'ing the tower. Quite noisy, but still very funky in a beat. I used bawami to get my own midi files to play through the pc speaker in order to produce these sounds.

Dominant seventh in Beethoven's Piano Sonata in B-flat major, Op. 22.

Komm her, freu dich mit uns, tritt ein (Gotteslob (1975) 519; Gotteslob (2013) 148)

Morgenlicht leuchtet (Morning has broken), Evang. Gesangbuch 455; Gotteslob (2013) Österreich 705

Trebor: Se Alixandre et Hector fussent en vie.

Ave Maria klare; Gotteslob (1975) 581; Gotteslob (2013) Hamburg-Hildesheim-Osnabrück 894

Ave Maria, gratia plena, so grüßte der Engel die Jungfrau Maria, Gotteslob (2013) 537

Was messing around on the piano and started fingering this line. Switched it over to bass. Combination of two basses and some plucking sound: all just sound card midi sounds. Tweaked the bass deeper with audacity. Peace out and enjoy.

A rhythm midi made at the keyboard then processed through the dn-e1 virtual synthesizer in magix music maker daw.

A calm sound for interfacing main menus. Created by accident in fl studio whilst editing a synth midi note. Reminds me of the early 90s-00's interfacing sounds which were quite placid, melancholic and tuneful.

The inspiration for this track came from a stereo cross-fading delay patch for modular synths i found, created using caustic 3. 2 with my akai mpk mini keyboard as usb-midi controller with a bit of a tangerine dream style.

Sequential modulation in Schubert, Piano Sonata in E Major, D. 459, movement III.

Primary triad in C in just intonation. Created by Hyacinth (talk) 11:17, 22 December 2011 (UTC) using Sibelius 5.

Sonne der Gerechtigkeit (Evang. Gesangbuch 262; Gotteslob (1975) 644; Gotteslob (2013) 481)

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."

Seht, die gute Zeit ist nah, Evangelisches Gesangbuch 18; Gotteslob (2013) München-Freising 748

Example of syllabic and melismatic text setting. MIDI doesn't convey the quality of syllables flowing. Source: "Jesus Christ is Ris'n Today" (Methodist Hymn Book, 1933, No. 204). Created by Hyacinth (talk) 01:28, 18 July 2012 (UTC) using Sibelius 5.

*(Lesser) undecimal neutral second on C = D↓ (Ben Johnston's notation). 12/11 = 150.64 cents.

Es ist genug, Schlusschoral der Kantate O Ewigkeit, du Donnerwort BWV 60; Melodie: Johann Rudolf Ahle

An excerpt from the traditional Latin song "Adeste Fideles". Created by Hyacinth (talk) 22:50, 1 February 2012 (UTC) using Sibelius 5. See: :Image:Adeste Fideles sheet music sample.svg

5 25 {\displaystyle {\sqrt[{25}]{5}}} = 5:11/25 = 111.45 cents. Interval used in Stockhausen's Studie II, a compound just major third (5/1) divided into 25 equal parts.

Ausschnitte aus Beethovens Klaviersonate Nr. 31, op. 110, Dritter Satz Excerpts from the third movement of Ludwig van Beethoven's Piano Sonata No. 31, Op. 110

Bells, drone and soft pad played on a usb midi keyboard triggering through a daw non sample based soft synths with non default parameter settings.

Die Sach ist dein, Herr Jesu Christ, Evang. Gesangbuch Baden/Pfalz 606

All Morgen ist ganz frisch und neu (Evang. Gesangbuch 440; Gotteslob (1975) 666)

Kanon Danket, danket dem Herrn; Evang. Gesangbuch 336; Gotteslob (1975) 283; Gotteslob (2013) 406

O Sonn des Heiles, Jesus Christ, Gotteslob (2013) Hamburg-Hildesheim-Osnabrück 764

Enharmonic scale [segment] on C. Quarter comma meantone temperament. Note that in this depiction C♯ and D♭ are distinct rather than equivalent as in modern notation.

Gegrüßet seist du, Königin (Gotteslob (1975) 573; Gotteslob (2013) 536)

Freu dich, du Himmelskönigin (Gotteslob (1975) 576; Gotteslob (2013) 525)

First 4 measures of the first movmemt of Ludwig van Beethoven's Piano Sonata in C-sharp minor "Moonlight", Op. 27, No. 2.