1,478 Royalty-Free Audio Tracks for "Midi Music"

日本語: ビゼー作曲「カルメン」第2幕の「カンツォネッタ」の一部 Part of Georges Bizet's Carmen

Simple quadruple drum pattern: divides four beats into two. Created in Sibelius.

Dominant seventh raised ninth vs dominant seventh split third chord.

Opening measures of Chopin's "wrong note" etude Op. 25 No. 5, demonstrating a humorous use of the minor second. The original work is public domain, image created by the uploader.

So fahr ich hin zu Jesu Christ, Schlusschoral der Kantate Der Himmel lacht (BWV 31), Chorstimmen und Trompete

Single note sampled from a moog slim phatty analogue synthesizer. Slim phatty is a monophonic analogue synthesizer designed by moog music. Synthesizer: moog slim phattyfactory preset #: 1note: c-1midi note: 0midi velocity: 16.

7-tone equal tempered scale represented in traditional notation. + and - indicates approximate distance above and below notated pitch. Pitch bend matches intervals.

Schumann, Sechs Fugen for organ, Op. 60, No. 5, mm. 1-4. Created by Hyacinth (talk) 00:19, 18 April 2010 using Sibelius 5.

Fantasiestücke, Op. 12, Nr. 6, "Fabel", by Robert Schumann (15 KB, 2:13 minutes)

Actual score to accompany an analysis by Czerny (simplified) of the first measures of Chopin Study op. 10 n. 1.

Seventh of a dominant seventh chord in C. Created by Hyacinth (talk) 22:57, 13 May 2010 using Sibelius 5.

Slonimsky's Pyramid chord. A G# F# D# B F# C♮ F♮ A C D♮ Eb = 0 e 9 6 2 9 3 8 0 3 5 6.

Fantasiestücke, Op. 12, Nr. 3, "Warum?", by Robert Schumann (4 KB, 1:37 minutes)

*Unison on C = C. Just: 1:1 = 0 cents. Equal-tempered: 20/12:1 = 0 cents. Limit: 3-limit.

Fantasiestücke, Op. 12, Nr. 4, "Grillen", by Robert Schumann (18 KB, 3:47 minutes)

Dominant form chord: Dominant flat ninth chord preceding tonic chord and possessing a primary dominant function.

Fantasiestücke, Op. 12, Nr. 2, "Aufschwung" by Robert Schumann (16 KB, 3:29 minutes)

James Scott's "Grace and Beauty" (1909) - MIDI sequencing by Adam Cuerden, piano synthesis by Jujutacular

La mer, trois esquisses symphoniques pour orchestre (The sea, three symphonic sketches for orchestra), L. 109, CD. 111: I. "De l'aube à midi sur la mer" performed by the Concert Band of the United States Air Force Band. Track 9 from French Impressions (2000).[1][2][3][4]

Strange sci-fi drone. Created on samplitude music studio, by applying 3 vst instruments (wollow drone, wollow fm-era and sts-17) on the same midi sequence i previously wrote.

Hark! The Herald Angels Sing. 日本語: 天にはさかえ。

Tritone substitution. F♯7 may substitute for C7, and vice versa, because they both share E♮ and B♭/A♯ and due to voice leading considerations.

The "Schwencke measure" added to J.S. Bach's Prelude in C Major BWV 846

Nicht nach Welt, nach Himmel nicht, Schlusschoral der Kantate Wachet, betet (BWV 70); Chorstimmen und Violino I und II

Istrian mode as subharmonics 14 through 7 on C: D-, E↓, F, G↓, A♭, B♭-, C, D-' = D, E, F, G♭, A♭, B♭, C, D'.

Fantasiestücke, Op. 12, Nr. 5, "In der Nacht", by Robert Schumann (21 KB, 4:25 minutes)

Seven six chord on C (C7/6). Created by Hyacinth (talk) 15:53, 26 June 2011 (UTC) using Sibelius 5.

First eight bars of the 3rd movement of Ludwig van Beethoven's Piano Sonata No. 21 in C major, Op. 53, the Waldstein.

Dominant ninth chord in fourth inversion: G,A,C,E♭,F. It then resolves to I: B♭, D, F.

Robert Schumann, Album für die Jugend, Op. 68, Nr. 10: "Fröhlicher Landmann, von der Arbeit zurückkehrend" ("Happy Farmer, Returning from Work"), 37 seconds

Fantasiestücke, Op. 12, Nr. 1, "Des Abends", by Robert Schumann (8 KB, 3:23 minutes)

*1 step in 17 equal temperament on C = D♭ (Easley Blackwood's notation). Equal-tempered: 21/17:1 = 70.59 cents. MIDI pitch bend: 75,54 17 tone equal temperament is the tempered scale derived by dividing the octave into 17 equal steps (equal frequency ratios). Each step represents a frequency ratio of 21/17, or 70.6 cents.

Großes Präludium in e-Moll von Nicolaus Bruhns. Source: http://www.free-scores.com/download-sheet-music.php?pdf=158, according to that page public domain. The instrument has been changed to church organ and the tempering to Werckmeister III.

Former national anthem of Afghanistan used from 1992 to 2006. Composed by Ustad Qasim in 1919; he died in 1957.

Fantasiestücke, Op. 12, Nr. 7, "Traumes Wirren", by Robert Schumann (16 KB, 2:43 minutes)

Nederlands: Frederic Chopin: Ballade #4. Afkomstig van: http://www.ibiblio.org/mutopia/cgibin/piece-info.cgi?id=422, publiek domein

First bars from Ludwig van Beethoven's Piano Sonata No. 31, Op. 110, third movement

Stomp progression in C with staggered thirds, chord roots in red. Created by Hyacinth (talk) 04:06, 17 March 2010 using Sibelius 5.

Popular tune from Latvia Wir, an Babels fremden Ufern (Gotteslob (2013) 438)

Lobet den Herrn, alle Heiden (BWV 230) for voice (SATB) and continuo by J. S. Bach (1685–1750) from Edition Peters, 4592.

E5 power chord in eighth notes. Created by Hyacinth (talk) 12:48, 2 July 2009 in Sibelius 5 set on "electric guitar" triple forte.

Consonant harmonies based on the odd harmonic overtones 3/5/7/9.

The opening of Vth of Beethoven's Seven Variations on "God Save the King" WoO 78 (1804) introduces Alberti bass patterns.

Polonaise in F major (BWV Anh. 117a) for piano by J. S. Bach (1685–1750) from Bach-Gesellschaft Ausgabe 1851-1899 Band 43 (1894).

Example of bitonality. BWV 803. Klavierubung Part III, Duetto II.

Fantasiestücke, Op. 12, Nr. 8, "Ende vom Lied", by Robert Schumann (17 KB, 4:01 minutes)

5-limit Otonality and Utonality: overtone and "undertone" series, partials 1-5 numbered.

Melchior Franck: Da pacem, Domine, in diebus nostris, vierstimmiger Kanon, in Tonika- und Dominantlage kombiniert

Dominant minor ninth flat five chord on C. C E Gb Bb Db.

Dominant raised ninth flat five chord on C. C E Gb Bb D#.