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

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#.

Second septimal minor third on C = D♯-. Just intonation: 25/21 = 301.85 cents.

Light string sound without melody. Made with a keyboard improvisation midi, processed through virtual synth in music maker as acoustic guitar, disguised with reverb, delay, echo and fx phasing into something that sounds almost like a gypsy cimbalom.

C major and E minor contrast through their respective notes C and B (in red and orange), each a half step apart or leading tones. The chords share two notes (in blue) however.

Minor ninth augmented fifth chord on C. C E G♯ B♭ D♭.

Seventh suspension four chord on C. Created by Hyacinth (talk) 20:28, 31 May 2011 (UTC) using Sibelius 5.

French sixth chord in Schubert's D.795, No. 5, "Am Feierabend" ("The Hour of Rest").

Midi file of BWV 610 from the Orgelbüchlein adapted with different instrumentation from lilypond file on Mutopia. "Jesu, meine Freude" (Jesus, my joy) is a hymn in German, written by Johann Franck in 1650, with a melody by Johann Crüger, first appearing in a hymnal by Crüger in 1653. The hymn is the base for Johann Sebastian Bach's funeral motet, BWV 227, and his chorale prelude, BWV 610.

Ich steh an deiner Krippen hier, melody, basso & harmonization: Johann Sebastian Bach (BWV 469); replenishment of basso, transposition to A minor & sound file: Rabanus Flavus (Peter Gerloff)

Soundscape of some pads. . Strange how the midi was created. . Used a granular device to create some sort of glitchy effect, then just converted that "melody" to midi in ableton, added stock ableton sound. And post processed to give it pad and ambience.

Piano accompaniment from Franz Schubert's lied "Der Wanderer" D.493, second couplet (Die Sonne dünkt ... Ich bin ein Fremdling überall) Accompagnement au piano du deuxième couplet du lied Der Wanderer D.493 de Franz Schubert (Die Sonne dünkt ... Ich bin ein Fremdling überall)

Enharmonic tetrachord in Pythagorean tuning. Created by Hyacinth (talk) using Sibelius 5. hypate parhypate lichanos mese 4/3 9/7 5/4 1/1 ↓ 28/27 ↓36/35↓ 5/4 ↓ -498 -435 -386 0 cents MIDI pitch bend appears to match intervals.

0 7 10 was judged most consonant by the untrained subjects. Title refers to number of semitones (unison=0).

Johann Sebastian Bach. BWV 269. Aus meines Herzens Grunde (Chorale 1)

Dominant seventh on F in third inversion. Created by Hyacinth (talk) using Sibelius 5. See: File:Dominant seventh on F in third inversion.png

Compound just perfect fifth on C. Also the 833 cents scale step 16 (2). 1901.96 cents. 3/1

A self generated cue for a musical. Used xpand2 plug-in in pro tools 10. Features a medium attack gust with a long decay. Leaves can be heard underneath the whistle of the wind.

English: Chopin Prelude, Op. 20, No. 10 (1832) opening. Consecutive diminished seventh chords as whole tone scale harmony. Piston analyses viio as Vo9 with a missing root.

Common-tone modulation between C minor and its relative major Eb, using the common-tone G, in Schubert's Op. 163 (D. 956).

MIDI of "Ut Queant Laxis", an 8th century hymn best known for being the basis for Ut-Re-Mi-Fa-Sol-La, later modified to the familiar Do-Re-Mi-Fa-Sol-La-Ti. Each line begins with a note that moves up the scale from Do to La (Ti not being used in music of that period).

Dominant sevenths in Chopin's (1810–1849) Mazurka in F minor, op. 68, no. 4, m. 1-4.

Augmented chord progression: V+65 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Augmented chord progression: V+43 I63. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

Lilliputian Chaconne from Telemann's Gulliver Suite. Notated in 3/4, quarter note = 120.

Augmented chord progression: V+75 I. Palmer, H. R. (1876). Palmer's Theory of Music, p.91-2. J. Church. [ISBN unspecified]

*Undecimal neutral second comma on C. 121:120 = 14.37 cents. Limit: 11-limit.

Brobigdinian Gigue from Telemann's Gulliver Suite. Notated in 12/8, dotted quarter = 90.

Suite for Microtonal Piano microtonal tuning arranged in a chromatic scale. Created by Hyacinth (talk) 14:26, 17 January 2012 (UTC) using Sibelius 5.

Voice leading for dominant eleventh chords in the common practice period. Created by Hyacinth (talk) 23:16, 6 July 2009 using Sibelius 5.

Caribbean Our Father, German adaption Vater unser, Vater im Himmel, Evang. Gesangbuch 188

Chromatic modulation in Bach's Du grosser Schmerzensmann, BWV 300, m. 5-6 transitions from FM to dm through the inflection of C♮ to C♯ between the second and third chords. Note that there is no common chord.

Minor seventh chord on d (ii7) in C. Created by Hyacinth (talk) 07:23, 14 August 2011 (UTC) using Sibelius 5.

Minor major seventh chord on IV in C. Created by Hyacinth (talk) 11:19, 1 July 2011 (UTC) using Sibelius 5.

Major triad on C: C E G. In root position, 1st inversion, 2nd inversion, then at the octave in root position.

Singt dem König Freudenpsalmen, Eichsfelder Melodie, Gotteslob (1975) Hildesheim 825

Borrowed chord (viio 4 3) in Bach's Prelude in C Major from The Well-Tempered Clavier, Book I, BWV 846, mm. 13-15.

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

This is a recording of Scott Joplin's "The Entertainer" rag, which was composed in 1902. This performance was created by Adam Cuerden, a Wikipedian, and found at http://adamcuerden.deviantart.com/gallery/. The MP3 file was then converted to OGG by Major Bloodnok and subsequently uploaded to the Wikimedia Commons. The recording, plus other source files (such as Midi) can be found at the URL http://adamcuerden.deviantart.com/#/d48wa4r.

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

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

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.)

MIDI of "Ut Queant Laxis", an 8th century hymn best known for being the basis for Ut-Re-Mi-Fa-Sol-La, later modified to the familiar Do-Re-Mi-Fa-Sol-La-Ti. Each line begins with a note that moves up the scale from Do to La (Ti not being used in music of that period).

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

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."

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