981 безкоштовний аудіофайл для "Combination Tones"

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.

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.

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

Prime form of five note tone row from Igor Stravinsky's In memoriam Dylan Thomas.

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.

Tone row from Stockhausen's Klavierstück IX.

Tone mixtures for Group I of Studie II. First five pitches (Group I: 1). G♯=100 Hz.

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).

Tone proportions of Studie I. I took F♮ as the starting point.

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.

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.

Leading-tone seventh chord in baroque composer Élisabeth Jacquet de La Guerre's 1707 Pièces de clavessin, book 2, "Sarabande", mm.21-8 (ending).

Common-tone diminished seventh chord.

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

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).

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

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

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

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.

Beispiel einer Shepard-Tonfolge; Scheinbar unendlich tiefer werdender Ton Example for a Shepard tone

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.