612 Royalty-Free Audio Tracks for "The Scale"

| - description - |. Synthwave style song. 125 bpm. G # minor scale. G # m, f #, e, d # m. | - made with - |. Sawer, poizone and stock samples - fl studio. | - uses - |. For projects or whatever i wanted.

*Bohlen-Pierce ten steps on C = A. 310/13 = 1463.04 cents. MIDI pitch bend: 22,52 1463.04-1200=263.04 cents

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

*Bohlen-Pierce one step on C = C♯/D♭. 31/13 = 146.30 cents. MIDI pitch bend: 104,78

*Bohlen-Pierce eight steps on C = H♯/J♭. 38/13 = 1170.43 cents. MIDI pitch bend: 68,54

*Bohlen-Pierce five steps on C = F♯/G♭. 35/13 = 731.52 cents. MIDI pitch bend: 11,74

Triad in Equal Tempered Bohlen-Pierce tuning (0 4 7 semitones). Title refers to harmonics (fundamental=1:3:9:etc.).

Recorded by the author! ताङ्ग. Microphone: lavalier microphoneside of maadal: smaller sidefingers used: index onlyhit type: open sound (leave the membrane right after hitting it). Wikipedia introduction:https://ne. Wikipedia. Org/wiki/मादल.

*Bohlen-Pierce fifth on C. 75:49 = 736.93 cents. Limit: 7-limit. MIDI pitch bend: 105,75

*Bohlen-Pierce nine steps on C = J. 39/13 = 1316.74 cents. MIDI pitch bend: 45,69 1316.74-1200=116.74 cents.

*Bohlen-Pierce twelve steps on C = B. 312/13 = 1755.65 cents. MIDI pitch bend: 103,49 1755.65-1200= 555.65 cents.

*Tritave (compound just perfect fifth) on C = G'. 3:1 = 1901.96 cents. Limit: 3-limit. Play by clarinets.

An impulse response, made with vital softsynth, simulating the responce of a bunch of strings tuned to notes of bohlen—pierce scale. Specifically, a middle ground between 13 equal divisions of a tritave (interval 3/1) and the just-intonation bohlen—pierce scale. (for no particular reason. ). Convolving with this might add some xen flavor to your sounds, even if you play in standard tuning 12edo. I tried it with surge xt’s hammered dulcimer patch (i love hammered dulcimer!) and heard some additional shimmering.

Jazz solo improvisation performance on 'rhythm changes' harmony / chord progression. Recorded with zoom-h6. Instruments in the recording: tenor saxophone, drums, double bass, electric guitar.

This is a trnsformation of the original sound: http://www. Freesound. Org/people/xserra/sounds/254374/ , with the parameters:. For synthesis:window type: hammingwindow size: 801fft size: 2048minimum f0: 160maximum f0: 260number of harmonics: 80threshold: -100minimum length of harmonics:. 1stochastic decimation factor : 0. 2minimum sine duration : 0. 1. For transformation :frequency scaling factors : [0, 0. 4, 1, 0. 4] <- (make frequency lower)frequency stretching factors : [0, 1, 1, 1] <- (no change)timbrepreservation : 1 <- (no change)time scaling factors : [0, 0, 1, 0. 7] <- (faster).

*Bohlen-Pierce major second on C. Just: 25:21 = 301.85 cents. Limit: 7-limit. MIDI pitch bend: 75,64

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

Example of melodic minor from the opening of Vivaldi's Concerto grosso, RV 578, Op.3/2.

Dirty synthesizer arabic-scale melody. If u like this loop, perhaps u also like my tunes on soundcloud: http://soundcloud. Com/beverlyhillsboy check it out! cheers :).

A morphagene reel recorded from an old swedish air organ. The reel is organized into 5 groups, cmaj scale, octave up, thirds, fourths, and fifths. Really nice slowed down or through a low pass gate.

*Tritave (compound just perfect fifth) on C = G'. 3:1 = 1901.96 cents. Limit: 3-limit. MIDI pitch bend: 80,64

Solo guzheng from ipad garageband with some expressions in. The scale is minor pentatonic. My sounds are free. I'm always happy to see how they are used in your artworks. Please enter https://freesound. Org/people/neolein/ in your references.

Three beta chords on C♯. C♯, E, G, B♭, C♮; C♯, E, G, C♮; and C♯, G, C♮.

Bohlen-Pierce chord: 0,1,2 (semitones), the most dissonant chord. Currently at 0, 169.75, and 310.88 cents. Title refers to number of semitones (unison=0).

Just a small sound of me clapping, then distorting it and adding some scale-shift. I really like it, sounds like one of those sounds for a ui, like menu hovering(!).

Just a small sound of me clapping, then distorting it and adding some scale-shift. I really like it, sounds like one of those sounds for a ui, like menu hovering(!).

A simple fade in using my volume knob. Gear used:. Vox tonelab se, ibanez uv777 packed with seymour duncan sh, tascam dr-05.

Harmonic Chord 3:5:7:9. Traditional notation: G E B♭ D. Title refers to harmonics (fundamental=1:3:9:etc.).

Adagio (2nd movement) from Beethoven's Piano Sonata Op. 22, bars 31–33

Just a small sound of me crushing a can, then distorting it and adding so scale-shift. I really like it, sounds like one of those sounds for a ui, like menu hovering(!).

Our town was testing the sewers somehow using audio tones to measure something. Maybe resonant frequency or something like that. It sounded vey musical since they were using 3 tones per octave, like a scale based on an augmented fifth chord.

Just a small sound of a green spectrum, then distorting it and adding some scale-shift. I really like it, sounds like one of those sounds for a ui, like menu hovering(!).

Just a small sound of me crushing a can, then distorting it and adding so scale-shift. I really like it, sounds like one of those sounds for a ui, like menu hovering(!). ~callum.

Just a small sound of me clicking a pen, then distorting it and adding so scale-shift. I really like it, sounds like one of those sounds for a ui. - like menu hovering(!?). ~callum.

*Classic augmented eleventh on C = F♯'. 25/18 = 1768.72 cents. Limit: 5-limit. MIDI pitch bend: 127,53 MIDI.

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).

A loud and dramatic horn. Known from the movie "inception. " it was created viaa recording of myself playing an ab note (below the scale of bass clef) on my bbb tuba and then adding things like distortion, echo, fade, etc. In audacity to make it almost identical to the dramatic horn from "inception. ".

Just a small sound of me crushing a wrapper, then distorting it and adding so scale-shift & glotch. I really like it, sounds like one of those sounds for a ui, like menu hovering(!). ~callum.

Example of atonal music which avoids octaves, avoids major and minor triads, avoids more than three notes from the same diatonic scale, and avoids conjunct melodies/uses disjunct melodies. From Schoenberg's Klavierstucke, Op. 11, No. 1.

Italiano: Lavoro da me ottenuto tramite sintetizzatore virtuale con banco Giant SoundFont 1.0.sf2 (262 MB) e SynthFont 1.613. Post elaborazione (GoldWave 5.58): Reverb time: 0,500 s; Volume: -21 db; Delay scale: 1.

This is an original composition i created in sibelius 6 using traditional music theory guidelines ( i. E circle progressions, chord progressions, aba structure. )the instruments used to create this are : chords - acoustic guitarmelody - electric guitar-xbkyboox xd.

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

This is a trnsformation of the original sound: http://freesound. Org/people/ricemutt/sounds/23933/ , with the parameters:. For synthesis:window type: blackmanwindow size: 801fft size: 1024minimum f0: 100maximum f0: 2500number of harmonics: 20 (we don't need too many harmonic here)threshold: -100stochastic decimation factor : 0. 1minimum sine duration : 0. 1. For transformation :frequency scaling factors : [0,1,0. 4,1,0. 6,0. 9,1. 0,0. 5,1. 2,0. 3,1. 4,0. 6] <- (make frequency variation steady)frequency stretching factors : [0,2,0. 5,1,0. 51,0. 7] <- (create a frequency variation, high->low )timbrepreservation : 1 <- (no change)time scaling factors : [0, 0, 0. 8, 1. 5,1. 0,2] <- (make some "free fall" feeling).

Motherchord (Mutterakkord), pyramidal (symetrical) chord. A G# E C# B F# C♮ F♮ G Bb D Eb = 0 e 7 4 2 9 3 8 t 1 5 6.

I played arbitrary co-soundings on the mystic scale (it becomes mystic arabian if you mimic arabian music; otherwise is sounds european). I applied 300 hz steep low pass (eq) on an inverse sawtooth soundwave generator. I applied many delay effects in tandem. Created on fruity loops and re-equed on wavelab. Mystic(has three submodes, scale-shifts [same intervals, overall shifted]). • do, re#, mi, sol, sol#, si• do, do#, mi, fa, sol#, la• do#, re, fa, fa# la, la#. (semitonally/fret steps: 0, +1, +3, +1, +3, +1, +3). (si = ti, do = c). It is chordable.

Grandmother chord (Grossmutterakkord), first used by Nicolas Slonimsky. A G# Bb G B♮ F# C F♮ C# E D Eb = 0 e 1 t 2 9 3 8 4 7 5 6.

Quartal harmony in "Laideronnette" from Ravel's Ma mère l'oye. The top line uses the pentatonic scale. Created by Hyacinth (talk) 00:55, 11 November 2011 using Sibelius 5. Illustration of quartal harmony in "Laideronnette" from Maurice Ravel's (1875–1937) Ma Mère l'Oye (1910).

This is made by feeding homemade images to audiopaint 3. 0 while its oscillators are tuned to randomly-selected scales. Some of them use sine waves, while others use custom waveforms.

Chromatic tetrachord in pythagorean tuning. MIDI pitch bend appears to match intervals (0,64; 112,65; 64,61; and 80,64). Created by Hyacinth (talk) using Sibelius 5.

*Perfect octave on C = C'. Just: 2:1 = 1200 cents. Equal-tempered: 212/12:1 = 1200 cents. Limit: 3-limit. MIDI pitch bend: none MIDI.