List of pieces that use the whole-tone scale
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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
[edit]References
[edit]- ^ Antokoletz 1984, 245.
- ^ Antokoletz 1984, 263.
- ^ Antokoletz 1984, 88.
- ^ Antokoletz 1984, 280.
- ^ Bartók 1935, 414.
- ^ Cooper 1996, 70.
- ^ Pople 1991, 74–75.
- ^ Gorrell 2002, 119.
- ^ Antokoletz 2004, 312.
- ^ Stuckenschmidt 1970, 109.
- ^ Leikin 2015, 128.
- ^ a b c d e Andrews 2001.
- ^ Davies 1985, 58–60.
- ^ Hull 1915, 62.
- ^ Hull 1915, 61.
- ^ Hull 1915, 56.
- ^ Salzman 1974, 203.
- ^ Antokoletz 2004, 20.
- ^ Schoenberg 1978, 393n1.
- ^ a b Hull 1915, 58.
- ^ Aldrich and Meckna 2001.
- ^ Woodside 1990, 68.
- ^ Karan 2011.
- ^ Macan 1997, 55.
- ^ Sigman 2011, 15.
- ^ Todd 1981, passim.
- ^ Schoenberg 1978, 390.
- ^ Taruskin 2009, 237.
- ^ McMillan 2008, 153.
- ^ Rosen 1998, 556.
- ^ DeVoto 2004, 193.
- ^ a b Hull 1915, 57.
- ^ Rimsky-Korsakov 1886, 25–26.
- ^ Frisch 1997, 218.
- ^ Frisch 1997, 233–234, 245.
- ^ Salzman 1974, 32.
- ^ Frisch 1997, 103–104.
- ^ Schoenberg 1978, 393.
- ^ Frisch 1997, 197–201.
- ^ Salzer and Schachter 1989, 215, 217–218.
- ^ Kohl 2004, 131–132.
- ^ Zur 1982, 517–518.
- ^ Moreira 2014, 53.
- ^ Tarasti 2009, 231–232.
- ^ 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.[full citation needed] Cited in Michael John Malone. Symbols of Transformation. [full citation needed], 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.[full citation needed] 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.[full citation needed] 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.[full citation needed] 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.[full citation needed] 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.[full citation needed] 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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