Misplaced Pages

This is a list of notable musical works which use the whole tone scale.

• Béla Bartók
  • Cantata Profana, b. 186–187
  • Concerto for Orchestra, fifth movement, b. 484
  • String Quartet No. 1, end of movement 3
  • String Quartet No. 4, first movement, b. 157–160
  • String Quartet No. 5 "The sequence of tonalities of the single sections produce the whole-tone scale". "In the first movement of the Fifth String Quartet...the tonalities of the individual sections form a complete whole-tone scale (B♭–C–D–E–F♯–G♯–B♭)."
  • Mikrokosmos, Volume V, No.136 "Whole-Tone Scales"
• Alban Berg
  • Violin Concerto
  • "Nacht" from Seven Early Songs
• Hector Berlioz
  • Francs-Juges Overture
• Ferruccio Busoni
  • An die Jugend for piano, the right hand part of the "Preludietto, Fughetta ed Esercizio" is based on the whole tone scale.
• Frédéric Chopin
  • Prelude No. 19, mm. 43–44, in the bass, "while the melody moves down chromatically"
• Alexander Dargomyzhsky
  • The Stone Guest, passage from act 3
• Peter Maxwell Davies
  • Symphony No. 3, first movement, horns, between rehearsals P and Q

• Claude Debussy
  • Chansons de Bilitis
  • Children's Corner
  • Images for piano, No. 1
  • Jeux
  • La mer
  • Pelléas et Mélisande, act 4 scene 2
  • Prélude à l'après-midi d'un faune, b. 32–33, 35–36
  • Voiles from Préludes, Book 1
• Edward Elgar
  • The Dream of Gerontius
• Blair Fairchild
  • A Baghdad Lover, nine songs for bass and piano, Op. 25 (1911)
• Mikhail Glinka
  • Ruslan and Lyudmila, near the end of the overture, in the finale to act 1, and in the act 4 chorus "Pogibnet! Pogibnet!"
• The Human Abstract
  • "Holographic Sight"
• Leoš Janáček
  • Sinfonietta (1926)
• Sigfrid Karg-Elert
  • "Allegro burlesco" from the Sonatina exotique for piano
• King Crimson
  • "Fracture"
  • One More Red Nightmare
• Kraftwerk
  • "Spacelab" (from The Man-Machine)
• Franz Liszt
  • Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam", for organ
  • Réminiscences de Don Juan
• Gustav Mahler
  • Symphony No. 5, end of fifth movement, b. 784-787
  • Das Lied von der Erde, sixth movement, b. 454-459
• Olivier Messiaen
  • Quartet for the End of Time (movement 6, "Danse of Fury, for the seven trumpets", cello part)
• Lee Morgan
  • "Our Man Higgins"
• Wolfgang Amadeus Mozart
  • A Musical Joke
• Giacomo Puccini
  • Madama Butterfly
• Maurice Ravel
  • Jeux d'Eau, page 1
• Vladimir Rebikov
  • Une fête, No. 6
  • Les rêves
• Nikolai Rimsky-Korsakov
  • Piano Concerto, 1882, Allegro
• Arnold Schoenberg
  • "Am Wegrand", Op. 6, no. 6
  • Chamber Symphony No. 1
  • "Jesus bettelt", Op. 2, no. 2
  • Pelleas und Melisande
  • String Quartet No. 1
• Franz Schubert
  • "Sanctus" from the Mass No. 6 in E♭ major, D. 950
• Sparks
  • "In the Future" from the album Indiscreet
• Karlheinz Stockhausen
  • Montag aus Licht, act 1, scene 6, "Das große Geweine", b. 879–881
• Igor Stravinsky
  • L'Histoire du soldat
• Heitor Villa-Lobos
  • Chôros No. 2
  • String Quartet No. 3, second movement (Molto Vivo)
• Stevie Wonder
  • "You Are the Sunshine of My Life" (introduction)
• Joe Hisaishi
  • "Les Aventuriers" from Piano Stories II – The Wind of Life, 1996

See also

• Impressionist music

References

1. Antokoletz 1984, 245.
2. Antokoletz 1984, 263.
3. Antokoletz 1984, 88.
4. Antokoletz 1984, 280.
5. Bartók 1935, 414.
6. Cooper 1996, 70.
7. Pople 1991, 74–75.
8. Gorrell 2002, 119.
9. Antokoletz 2004, 312.
10. Stuckenschmidt 1970, 109.
11. Leikin 2015, 128.
12. ^ Andrews 2001.
13. Davies 1985, 58–60.
14. Hull 1915, 62.
15. Hull 1915, 61.
16. Hull 1915, 56.
17. Salzman 1974, 203.
18. Antokoletz 2004, 20.
19. Schoenberg 1978, 393n1.
20. ^ Hull 1915, 58.
21. Aldrich and Meckna 2001.
22. Woodside 1990, 68.
23. Karan 2011.
24. Macan 1997, 55.
25. Sigman 2011, 15.
26. Todd 1981, passim.
27. Schoenberg 1978, 390.
28. Taruskin 2009, 237.
29. McMillan 2008, 153.
30. Rosen 1998, 556.
31. DeVoto 2004, 193.
32. ^ Hull 1915, 57.
33. Rimsky-Korsakov 1886, 25–26.
34. Frisch 1997, 218.
35. Frisch 1997, 233–234, 245.
36. Salzman 1974, 32.
37. Frisch 1997, 103–104.
38. Schoenberg 1978, 393.
39. Frisch 1997, 197–201.
40. Salzer and Schachter 1989, 215, 217–218.
41. Kohl 2004, 131–132.
42. Zur 1982, 517–518.
43. Moreira 2014, 53.
44. Tarasti 2009, 231–232.
45. Perone 2006, 40.

Sources

• Aldrich, Richard, and Michael Meckna. 2001. "Fairchild, Blair". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
• Andrews, H. K. 2001. "Whole-Tone Scale". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan.
• Antokoletz, Elliott. 1984. The Music of Béla Bartók: A Study of Tonality and Progression in Twentieth-Century Music. Berkeley and Los Angeles: University of California Press. ISBN 9780520067479.
• Antokoletz, Elliott. 2004. Musical Symbolism in the Operas of Debussy and Bartók: Trauma, Gender, and the Unfolding of the Unconscious. Oxford and New York: Oxford University Press. ISBN 9780195103830.
• Bartók, Béla. 1935. "Analysis for the Fifth String Quartet". In Béla Bartók Essays. Cited in Michael John Malone. Symbols of Transformation. , 2008: p. 83. ISBN 9780549783367.
• Cooper, David. 1996. Bartók, Concerto for Orchestra. Cambridge Music Handbooks. Cambridge and New York: Cambridge University Press. ISBN 9780521485050.
• Davies, Peter Maxwell. 1985. Symphony No. 3. (score) London: Boosey & Hawkes.
• DeVoto, Mark. 2004. Debussy and the Veil of Tonality. ISBN 9781576470909.
• Frisch, Walter. 1997. Early Works of Arnold Schoenberg, 1893–1908. Berkeley and Los Angeles: University of California Press. ISBN 9780520212183.
• Gorrell, Lorraine. 2002. Discordant Melody. ISBN 9780313323669.
• Hull, Arthur Eaglefield. 1915. Modern Harmony: Its Explanation and Application. London: Augener
• Karan, Tim. 2011. "Track by Track: The Human Abstract", AltPress.com (3 May).
• Kohl, Jerome. 2004. "Der Aspekt der Harmonik in Licht." In Internationales Stockhausen-Symposion 2000: LICHT. Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000. Tagungsbericht, edited by Imke Misch and Christoph von Blumröder, 116–132. Münster, Berlin, London: LIT-Verlag. ISBN 3-8258-7944-5.
• Leikin, Anatole. 2015. The Mystery of Chopin's Préludes. London and New York: Rutledge. ISBN 9781317023418.
• Macan, Edward. 1997. Rocking the Classics. ISBN 9780195098884.
• McMillan, Jeffery S. 2008. DelightfuLee: The Life and Music of Lee Morgan. Ann Arbor: University of Michigan Press. ISBN 0-472-03281-X.
• Moreira, Gabriel Ferrão. 2014. "A construção da sonoridade modernista de Heitor Villa-Lobos por meio de processos harmônicos: um estudo sobre os Choros". PhD diss. São Paulo: Universidade do Estado de São Paulo.
• Perone, James E. 2006. The Sound of Stevie Wonder: His Words and Music. The Praeger Singer-Songwriter Collection. Westport, Connecticut: Praeger. ISBN 9780275987237.
• Pople, Antony. 1991. Berg: Violin Concerto. Cambridge Music Handbooks. Cambridge and New York: Cambridge University Press. ISBN 0-521-39976-9.
• Rimsky-Korsakov, Nikolai. 1886. Piano Concerto, Op. 30 (reduction for two pianos): Scores at the International Music Score Library Project. Leipzig: M. P. Belaieff.
• Rosen, Charles. 1998. The Romantic Generation. The Charles Eliot Norton Lectures. Cambridge: Harvard University Press. ISBN 0674779347.
• Salzer, Felix, and Carl Schachter. 1989. Counterpoint in Composition, reprinted with a new preface. New York: Columbia University Press Morningside Edition. ISBN 0-231-07038-1 (cloth); ISBN 0-231-07039-X (pbk).
• Salzman, Eric. 1974. Twentieth-Century Music: An Introduction, second edition. Prentice-Hall History of Music Series, edited by H. Wiley Hitchcock. Engelwood Cliffs, New Jersey: Prentice-Hall. ISBN 0-13-935007-1.
• Schoenberg, Arnold. 1978. Theory of Harmony, translated by Roy E. Carter. Berkeley and Los Angeles: University of California Press. ISBN 0-520-04945-4 (cloth); ISBN 0-520-04944-6 (pbk).
• Sigman, Mitchell. 2011. Steal This Sound. ISBN 9781423492818.
• Stuckenschmidt, Hans Heinz. 1970. Ferruccio Busoni: Chronicle of a European. London: Calder & Boyars. ISBN 9780714502342 ISBN 9780714502359.
• Tarasti, Eero. 2009. "Villa-Lobos's String Quartets". In Intimate Voices: The Twentieth-Century String Quartet, vol. 1: Debussy to Villa-Lobos, edited by Evan Jones, 223–255. Eastman Studies in Music 70. Rochester, New York: University of Rochester Press. ISBN 978-1-58046-322-5.
• Taruskin, Richard. 2009. Music in the Early Twentieth Century. ISBN 9780195386301.
• Todd, R. Larry. 1981. "Liszt, Fantasy and Fugue for Organ on 'Ad nos, ad salutarem undam'". 19th-Century Music 4, no. 3 (Spring): 250–261.
• Woodside, Mary S. 1990. "Leitmotiv in Russia: Glinka's Use of the Whole-Tone Scale". 19th-Century Music 14, no. 1 (Summer): 67–74.
• Zur, Menachem 1982. "Tonal Ambiguities as a Constructive Force in the Language of Stravinsky". The Musical Quarterly 68, No. 4 (October): 516–526.

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