1,491 免版稅 音軌，用於"5月"

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

I created this file myself (using Sibelius, Windows Sound Recorder, and Audacity) to illustrate the concept of interval class.

A raw recording of a home-made 5-string kantele played by an uneducated person. The first part is an adaptation of the traditional song Vaka vanha Väinämöinen. The other parts are some random ways in which the instrument can be played and may or may not correspond to traditional playing methods.

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

Just Intonation Major Chord (4:5:6)

Symphony No. 5, first movement, bars 195-227

Mahler Symphony No. 5, I. Trauermarsch

Mahler Symphony No. 5, V. Rondo Finale

Mahler Symphony No. 5, II. Stürmisch bewegt, mit größter Vehemenz

Mahler Symphony No. 5, IV. Adagietto

Scale of harmonics on C.

Semi-augmented whole tone on C (D#-), 125/108, 253.08 cents.

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Just augmented second in just C scale: A♭ and B.

*Classic diminished fifth on C = G♭. 36:25 = 631.28 cents. Limit: 5-limit. MIDI pitch bend: 1,74 MIDI.

*Semitone Maximus on C = D♭. 27:25 = 133.24 cents. Limit: 5-limit.

Primay triads in c, as MIDI

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

D, F, Ab = C, Eb-, Gb-

Grave whole tone on C (D--), 800/729, 160.90 cents.

Major chord on C in just intonation (1/1, 5/4, 3/2).

*5-limit limma/Enharmonic diesis on C. 128/125 = 41.06 cents. Limit: 5-limit. MIDI pitch bend: 18,77

*Semicomma on C. 2109375:2097152 = 10.06 cents. Limit: 5-limit.

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.

Diatonic scale on C.

*5 steps in 31 equal temperament on C. Equal-tempered: 25/31:1 = 193.55 cents. MIDI pitch bend: 120,61

*5 steps in 41 equal temperament on C. Equal-tempered: 25/41:1 = 146.34 cents. MIDI pitch bend: 106,78

*5 steps in 34-et on C. Just: 25/34. Equal-tempered: 25/34:1 = 176.4705882352941176 cents. MIDI pitch bend: 60,56

Just minor chord on C: 10:12:15.

*Octave minus syntonic comma on C = C-. Just: 160/81 = 1178.49 cents. Limit: 5-limit. MIDI pitch bend: 15,89 on M7

*Six-hundred-twenty-fifth harmonic on C = D. Just: 625/512 = 345.25 cents. Limit: 5-limit. MIDI pitch bend: 61,78

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

*Decade on C. 10:1 = 3986.31 cents. Limit: 5-limit. MIDI pitch bend: 79,59 (5/4 = 386.31 cents = 3986.31 - (1200*3).)

*4 steps in 5-et on C. Equal-tempered: 24/5:1 = 960 cents. MIDI pitch bend: 25,51

*Four-hundred-fifth harmonic on C = G♯+. Just: 405/256 = 794.13 cents. Limit: 5-limit. MIDI pitch bend: 15,62

*Decade on A on C. Just: 10:1 = 3986.313714 cents. Limit: 5-limit. MIDI pitch bend: 79,59

*5 steps in 18-et on C = ??. Equal-tempered: 25/18=20/72:1 = 333.33 cents. MIDI pitch bend: 85,74

Just major triad on C (4:5:6).

*5 steps in 72 equal temperament on C. Equal-tempered: 25/72:1 = 83.33 cents. MIDI pitch bend: 85,58 Created in Sibelius with midi pitch bend on 91 for 84.375 cents rather than 83.335. New version a PU on 85,90 for 83.3251953125 cents rather than 83.335.

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

*Single note of just BP diatonic scale on C = H. Just: 9/5 = 1017.60 cents. Limit: 5-limit.

*Single note of just BP diatonic scale on C = G. Just: 5/3 = 884.36 cents. Limit: 5-limit.

*Single note of just BP diatonic scale on C = B. Just: 25/9 = 1768.72 cents. Limit: 5-limit.

Mahler Symphony No. 5, III. Scherzo

*Just diminished fifth on C = G♭ (Ben Johnston's notation). 36:25 = 631.28 cents. Limit: 5-limit.

*Diesis on C = D-. 128:125 = 41.06 cents. Limit: 5-limit. MIDI pitch bend: 18,77 Created by Hyacinth (talk) using Sibelius 5 with midi pitch bend on 18,77 for 41.064453 cents rather than 0.