20 Royalty-Free Audio Tracks for "Voice Leading"

Details of the voice leading in m. 3-7 of BWV 941: original

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

Diminished seventh chord resolution: both diminished fifths tend to resolve inward, doubling the third of the tonic chord.

Demonstration of the melodic minor second's place in a cadence. Created by the uploader.

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.

An mp3 recording of an orchestra tuning up to an "a" with a violin leading, starting with the woodwinds and brass, then moving to the string section. Recorded with a black sony ic voice recorder.

A shepherd with rough voice is leading a flock of sheep. Faraway. Many bells, some discreet birds. A dog, traffic. France, summer 2009. Recorded with schoeps ab ortf,recorded on sounddevice 744tstereo wave, 16 bits, 48khz.

An mp3 recording of an orchestra tuning up to an "a" with a violin leading, starting with the woodwinds and brass, then moving to the string section. Recorded with a black sony ic voice recorder.

A man is singing lead, other people answering. Roosters in the morning, other voices. Brazil, tapirape nation, 2009. Recorded with schoeps ab ortfrecorded on sounddevice 744twave stereo, 48 khz, 24 bits.

Footsteps lead up to pedestrian crossing, traffic comes to a halt at pelican crossing on king st, beeping starts, lights change, lorry takes off air-brakes and traffic resumes.

Selected voice lead on a yamaha ew300 keyboard and paulstretched by 2. 0 in audacity and then amplified it down by -5. 0db to use as a background drone ambience, next i selected midi grand piano voice on keyboard and played over the background drone.

This is the lead-up to "nothing to wear. " i'll not post any of the follow-up unless it is requested.

I think it's commonly known that the police are legally permitted to lie to a suspect in order to get information. The fact that the rest of us may not, seems to stop absolutely no one. It's amazing where trickery can lead, if one is trusting (gullible) enough.

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

Ninth chord resolutions as recommended by Schoenberg based on the rules for seventh chords: dissonances resolve downwards and the fifth rises to the first scale degree. Root position (A), First inversion (B), Second inversion (C), Third inversion (D), and Fourth inversion, all V9-I, followed by a nondominant example in root position: I9-IV (E).

I was recording outside my bedroom window while eating dinner in the living room, then i came back in here to see if i got anything interesting. I was zooming through the recording at 5x speed when i came across this bit of incidental pareidolia. I'm not sure what was going on, maybe the neighbors' stereo, but i don't remember hearing it, it's much louder in the living room so i should have. Whatever it was came out as a little distant choppy 2-notes alternating melody when played at 5x speed, which suddenly gets louder and solid as you hear the lower note followed by a third lower note. These 2 louder notes sound to me like someone singing the words all day. This would lead me to believe the original tones have some light harmonics i don't hear at normal speed. After which it goes back to the softer stuttering 2-note alternating thing from before. It doesn't sound like much at all at normal speed. So i just did a few straight pitch changes with goldwave until i got to 5x and saved this little file. See if it sounds like "all day" to you.

Johann Sebastian Bach (1685-1750) Cantata BWV 125: Mit Fried und Freud ich fahr dahin (2 February 1725) 1. Mit Fried und Freud ich fahr dahin (Chorus) 2. Ich will auch mit gebrochnen Augen (Aria: A) 05:27 3. O Wunder, daß ein Herz (Recitative: B) 13:19 4. Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden (Duet: T, B) 15:36 5. O unerschöpfter Schatz der Güte (Recitative: A) 20:55 6. Er ist das Heil und selig Licht (Chorale) 21:37 Soloists: Alto: Ingeborg Danz Tenor: Mark Padmore Bass: Peter Kooy Performed by Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1998. "Bach composed the cantata 'Mit Fried und Freud' for the feast of the Purification on 2 February 1725. Here, the opening chorus is in 12/8 time, which is almost always associated with a peaceful, pastoral mood. Here it is the expressive key of E minor, which, raised to monumental heights, will re-appear in the opening chorus of the St. Matthew Passion. The chorale is sung in long note values by the soprano accompanied by the lower voices of the chorus in densely textured imitation, and which takes up the serenely elegiac movement of the instrumental ritornello theme. Only twice does Bach interrupt the pattern: at the words 'sanft und stille' all the voices drop into a sudden 'piano' and even the lively rhythm of the vocal part gives way to a more tranquil measure. The contrast of the 'forte' on the next words, 'wie Gott mir verheißen hat' is all the more convincing in relation to the preceding words. Once again Bach leads the vocal part into a quiet, even tenor for the final line of the chorale, 'der Tod ist mein Schlaf worden.' " - Thomas Seedorf Painting: Still Life with Three Medlars, Adriaen Coorte