4,292 Royalty-Free Audio Tracks for "Midi"

The Barley Mow

Fill with groove number 2 and crash

Hush, Little Baby

Freude, schöner Götterfunken

Dominant eleventh without third.

C major scale, ascending and descending

D-beat drum pattern 2a.

*Fifty-first harmonic on C = G♯. Just: 51/32 = 806.91 cents. Equal-tempered: 28/12:1 = 800 cents. Limit: 17-limit. MIDI pitch bend: 27,66

*Difference between 19:16 (E♭) & 6:5 (E♭) on C = C. Just: 96 : 95 = 18.13 cents. Limit: 19-limit. MIDI pitch bend: 103,69

*Hundred-seventy-first harmonic on C = F+ (Ben Johnston's notation). Just: 5:4 = 501.42 cents. Limit: 19-limit. MIDI pitch bend: 58,64

Seid nun fröhlich, jubilieret, Gotteslob (2013) Hamburg-Hildesheim-Osnabrück 742

*Hundred-fifty-third harmonic on C = D♯ (Ben Johnston's notation). Just: 153:128 = 308.87 cents. Limit: 17-limit. MIDI pitch bend: 107,66

*Thirty fifth harmonic on C = D. Just: 35/32 = 155.14 cents. Equal-tempered: 23/24:1 = 150 cents. Limit: 7-limit. MIDI pitch bend: 83,81 on m2

*Lesser 47-limit fifth tone on C = C (Ben Johnston's notation). Just: 48/47 = 36.45 cents. Limit: 47-limit. MIDI pitch bend: 84,75

*Hundred-seventy-fifth harmonic on C = F♯+ (Ben Johnston's notation). Just: 175:128 = 541.45 cents. Limit: 7-limit. MIDI pitch bend: 33,45

Georg Philipp Telemann: Ich will den Herrn loben allezeit, Kanon zu 3 Stimmen, TWV 10:8

*3 steps in 17 equal temperament on C = D♮ (Easley Blackwood's notation). Equal-tempered: 23/17:1 = 211.76 cents. MIDI pitch bend: 98,67

Johann Sebastian Bach, Kantate Höchsterwünschtes Freudenfest (BWV 194), Schlusschoral Sprich Ja zu meinen Taten

Vom Himmel hoch, da komm ich her, Gotteslob (2013) 237

*Sixty-third harmonic on C = C+. Just: 63/32 = 1172.74 cents. Equal-tempered: 212/12:1 = 1200 cents. Limit: 7-limit. MIDI pitch bend: 35,87 on 1100

*Greater 41-limit fifth tone on C = C (Ben Johnston's notation). Just: 41:40 = 42.75 cents. Limit: 41-limit. MIDI pitch bend: 87,77

Regular diatonic tuning 31-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS.

*Hundred-eighty-ninth harmonic on C = G+ (Ben Johnston's notation). Just: 189:128 = 386.31 cents. Limit: 7-limit. MIDI pitch bend: 115,87 on TT

*Lesser 43-limit fifth tone on C = C↑ (Ben Johnston's notation). Just: 44/43 = 39.80 cents. Limit: 43-limit. MIDI pitch bend: 94,76

*Greater 43-limit fifth tone on C = C- (Ben Johnston's notation). Just: 43/42 = 40.74 cents. Limit: 43-limit. MIDI pitch bend: 4,77

*35 steps in 36-et on C = ??. Equal-tempered: 235/36=70/72:1 = 1166.67 cents. MIDI pitch bend: 42,53

Beta scale dominant seventh chord on C. Created by Hyacinth (talk) 07:35, 12 April 2011 (UTC) using Sibelius 5 with midi pitch bend. Pitch bend appears to match intervals.

An example of an bad generation to supplement the paper, transformer neural networks for automated rhythm generation.

Random chords, created with midi akai keys on garageband.

O Maria, gnadenvolle

Characteristic rock drum pattern with rimshot in place of snare

9/8 drum pattern.

4-2B tetrachord on C. Inverted version of 4-2A.

Example of an altered chord progression in jazz.

Habanera tresillo rhythm for comparison with 3:2 polyrhythm.

8-2B octachord on C. Inverted version of 8-2A.

Fifteenth chord from Schoenberg on C

Aeolian mode on A. No pitch bend.

Rock o' my soul in the bosom of Abraham

Major triad on C in second inversion.

6/8 clave, first form (standard pattern)

3:2 polyrhythm for comparison with the Habanera tresillo rhythm.

6/8 clave, second form (son clave)

8-28 (octatonic scale) octachord on C

Leck mich im Arsch

12-1 (chromatic) dodecachord on C

Fifth Symphony, opening, known as the "fate" motif.