List of pieces that use the whole-tone scale
From Wikipedia, the free encyclopedia
This is a list of notable musical works which use the whole tone scale.
- Béla Bartók
- Cantata Profana, b. 186–187[1]
- Concerto for Orchestra, fifth movement, b. 484[2]
- String Quartet No. 1, end of movement 3[3]
- String Quartet No. 4, first movement, b. 157–160[4]
- String Quartet No. 5 "The sequence of tonalities of the single sections [of the sonata form] produce the whole-tone scale".[5] "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♭)."[6]
- Mikrokosmos, Volume V, No.136 "Whole-Tone Scales"
- Alban Berg
- Violin Concerto[7]
- "Nacht" from Seven Early Songs[8]
- Hector Berlioz
- Francs-Juges Overture[9]
- Ferruccio Busoni
- An die Jugend for piano, the right hand part of the "Preludietto, Fughetta ed Esercizio" is based on the whole tone scale.[10]
- Frédéric Chopin
- Prelude No. 19, mm. 43–44, in the bass, "while the melody moves down chromatically"[11]
- Alexander Dargomyzhsky
- The Stone Guest, passage from act 3[12]
- Peter Maxwell Davies
- Symphony No. 3, first movement, horns, between rehearsals P and Q[13]

Whole tone scale in Debussy's Voiles, mm. 1–4
- Claude Debussy
- Chansons de Bilitis[14]
- Children's Corner[15]
- Images for piano, No. 1[16]
- Jeux[17]
- La mer[12][18]
- Pelléas et Mélisande, act 4 scene 2[12]
- Prélude à l'après-midi d'un faune, b. 32–33, 35–36[19]
- Voiles from Préludes, Book 1[12]
- Edward Elgar
- Blair Fairchild
- A Baghdad Lover, nine songs for bass and piano, Op. 25 (1911)[21]
- 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!"[12][22]
- The Human Abstract
- Leoš Janáček
- Sinfonietta (1926)
- Sigfrid Karg-Elert
- "Allegro burlesco" from the Sonatina exotique for piano[20]
- King Crimson
- "Fracture"[24]
- One More Red Nightmare
- Kraftwerk
- "Spacelab" (from The Man-Machine)[25]
- Franz Liszt
- 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)[28]
- Lee Morgan
- "Our Man Higgins"[29]
- Wolfgang Amadeus Mozart
- Giacomo Puccini
- Maurice Ravel
- Jeux d'Eau, page 1[31]
- Vladimir Rebikov
- Nikolai Rimsky-Korsakov
- Piano Concerto, 1882, Allegro[33]
- Arnold Schoenberg
- "Am Wegrand", Op. 6, no. 6[34]
- Chamber Symphony No. 1[35][36]
- "Jesus bettelt", Op. 2, no. 2[37]
- Pelleas und Melisande[38]
- String Quartet No. 1[39]
- Franz Schubert
- "Sanctus" from the Mass No. 6 in E♭ major, D. 950[40]
- Sparks
- "In the Future" from the album Indiscreet
- Karlheinz Stockhausen
- Montag aus Licht, act 1, scene 6, "Das große Geweine", b. 879–881[41]
- Igor Stravinsky
- Heitor Villa-Lobos
- Chôros No. 2[43]
- String Quartet No. 3, second movement (Molto Vivo)[44]
- Stevie Wonder
- "You Are the Sunshine of My Life" (introduction)[45]
- Joe Hisaishi
- "Les Aventuriers" from Piano Stories II – The Wind of Life, 1996
See also
References
Wikiwand - on
Seamless Wikipedia browsing. On steroids.