Talk:Music written in all major or minor keys

Alkan

Alkan wrote at least three (four?) sets of pieces in all 24 major and minor keys, depending on how you count the esquisses. Double sharp (talk) 06:26, 31 August 2012 (UTC)

Are the lists that follow copied from the article List of compositions by Charles-Valentin Alkan? Contact Basemetal here 17:12, 2 February 2014 (UTC)

No: I think it's actually the other way around! Double sharp (talk) 10:58, 20 February 2014 (UTC)

Preludes, Op. 31

(The Schlesinger edition at IMSLP has them in the wrong order.)

1. Lentement, C major
2. Assez lentement, F minor
3. Dans le genre ancien, D-flat major
4. Priere du soir, F-sharp minor
5. Psaume 150me, D major
6. Ancienne melodie de la synagogue, G minor
7. Librement mais sans secousses, E-flat major
8. Le chanson de la folle au bord de la mer, A-flat minor
9. Placiditas, E major
10. Dans le style fugue, A minor
11. Un petit rien, F major
12. Le temps qui n'est plus, B-flat minor
13. J'etais endormie, mais mon cœur veillait, G-flat major
14. Rapidement, B minor
15. Dans le genre gothique, G major
16. Assez lentement, C minor
17. Reve d'amour, A-flat major
18. Sans trop de mouvement, C-sharp minor
19. Priere du matin, A major
20. Moderement vite et bien caracterise, D minor
21. Doucement, B-flat major
22. Anniversaire, E-flat minor
23. Assez vite, B major
24. Etude de velocite, E minor
25. Priere, C major

Double sharp (talk) 07:48, 31 August 2012 (UTC)

The keys with fewer accidentals are always chosen, except for A♭ minor being used instead of G♯ minor. He chooses the flat keys for both keys with six accidentals. Double sharp (talk) 02:58, 1 September 2012 (UTC)

Etudes, Opp. 35 and 39

Op. 35

1. Allegretto, A major
2. Allegro, D major
3. Andantino, G major
4. Presto, C major
5. Allegro barbaro, F major (actually F Lydian)
6. Allegramente, B-flat major
7. L'incendie au village voisin, E-flat major
8. Lento appassionato, A-flat major
9. Contrapunctus, C-sharp major
10. Chant d'amour – chant de mort, G-flat major
11. Posément, B major
12. Andando, E major

Double sharp (talk) 08:00, 31 August 2012 (UTC)

Op. 39

1. Comme le vent, A minor
2. En rhythme molossique, D minor
3. Scherzo diabolico, G minor
4. Symphonie pour piano seul (1re partie), C minor
5. Symphonie pour piano seul (2me partie, Marche funèbre), F minor
6. Symphonie pour piano seul (3me partie, Menuet), B-flat minor
7. Symphonie pour piano seul (4me partie, Finale), E-flat minor
8. Concerto pour piano seul (1re partie), G-sharp minor
9. Concerto pour piano seul (2me partie), C-sharp minor
10. Concerto pour piano seul (3me partie), F-sharp minor
11. Ouverture, B minor
12. Le festin d'Ésope, E minor

Double sharp (talk) 08:13, 31 August 2012 (UTC)

Thanks for that. I think these are all mentioned in the article already. -- ♬ Jack of Oz ♬ ^{[your turn]} 08:22, 31 August 2012 (UTC)

Yes, but the section "The canonic 24 keys" is inconsistent. It states that Alkan used C-sharp major (implying the Etudes or Esquisses), and later that he used A-flat minor (implying the Preludes). Double sharp (talk) 02:55, 1 September 2012 (UTC)

Here both the flat keys are chosen for the keys with six accidentals, and the key with fewer accidentals is always chosen in enharmonic cases, except for C♯ major being used instead of D♭ major. Double sharp (talk) 02:58, 1 September 2012 (UTC)

Esquisses, Op. 63

1. La vision, C major
2. Le staccatissimo, F minor
3. Le legatissimo, D major
4. Les cloches, G minor
5. Les initiés, E major
6. Fuguette, A minor
7. Le frisson, F-sharp major
8. Pseudo-naïveté, B minor
9. Confidence, A-flat major
10. Increpatio, C-sharp minor
11. Les soupirs, B-flat major
12. Barcarollette, E-flat minor
13. Ressouvenir, C minor
14. Duettino, F major
15. Tutti de concerto dans le genre ancien, D minor
16. Fantaisie, G major
17. Petit prélude à trois, E minor
18. Liedchen, A major
19. Grâces, F-sharp minor
20. Petit marche villageoise, B major
21. Morituri te salutant, G-sharp minor
22. Innocenzia, D-flat major
23. L'homme aux sabots, B-flat minor
24. Contredanse, E-flat major
25. La poursuite, C major
26. Petit air, genre ancien, G minor
27. Rigaudon, D major
28. Inflexibilité, A minor
29. Délire, E major
30. Petit air dolent, B minor
31. Début de quatuor, F-sharp major
32. Minuettino, C-sharp minor
33. "Fais dodo", A-flat major
34. Odi profanum vulgus et arceo, Favete linguis, E-flat minor
35. Musique militaire, B-flat major
36. Toccatina, F minor
37. Scherzettino, C minor
38. "Le ciel vous soit toujours prospère!", G major
39. Héraclite et Démocrite, D minor
40. "Attendez-moi sous l'orme", A major
41. Les enharmoniques, E minor
42. Petit air à 5 voix, B major
43. Notturnino-innamorato, F-sharp minor
44. Transports, C-sharp major
45. Les diablotins, G-sharp minor
46. Le premier billet doux, E-flat major
47. Scherzetto, B-flat minor
48. En songe, F major
49. Laus Deo, C major

The first time around the cycle (nos. 1–24), the key with fewer accidentals is always chosen when there are enharmonic equivalents, and F♯ major and E♭ minor are chosen for the keys with six accidentals. The second time around (nos. 25–48), the keys chosen are the same, except that C♯ major is used instead of D♭ major. Double sharp (talk) 02:55, 1 September 2012 (UTC)

There is one more incomplete set, Op. 66, which covers only the flat keys with the exception of a little enharmonic substitution (F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, F♯, e♭). Double sharp (talk) 15:43, 8 July 2015 (UTC)

Palmgren

I've just removed two references to Palmgren's 24 Etudes, Op. 77 - they are not all in different keys, as can be seen from the partial score found at I.M.S.L.P. (Books 1 and 4) - see http://imslp.org/wiki/24_Studies,_Op.77_(Palmgren,_Selim) for the score. Even though this is only half the work, it can be seen easily that more than one piece is in C major, A minor, and F major, for instance. That means some keys must be left out.

Accordingly, I also removed Palmgren from the list of composers who have written more than one 24-piece cycle, as only his 24 Preludes, Op. 17 (which do qualify) are now left. M.J.E. (talk) 03:46, 25 November 2012 (UTC)

Music in all 24 major and minor keys vs music in all 12 major keys or in all 12 minor keys

I'm of the opinion that the topic should be enlarged to include works that modulate though all 12 major keys or through all 12 minor keys and to collections of works either in all 12 major keys or in all 12 minor keys and that the title of the page should be suitably changed (in other words that the page be moved).

In any case, if one strictly adheres to the scope of the page as it stands at the moment, the mention of Beethoven in the lede could well be spurious.

Contact Basemetal here 13:54, 27 January 2014 (UTC)

Not sure right now about the titling, though I do agree that at present the second paragraph of the lead appears somewhat off topic (though I suspect it might fit in quite reasonably somewhere towards the end of a more developed lead). 81.147.165.192 (talk) 14:03, 27 January 2014 (UTC)

But such a lede would contradict the title of the page. Is that a good solution? If we move the page to a more reasonably titled one then there is no problem anymore. Incidentally there are other limit cases: sets in all flat keys, all sharp keys, etc. so I agree we should think carefully about the new title. Contact Basemetal here 14:10, 27 January 2014 (UTC)

(edit conflict) Yes, one of the reasons I don't yet feel sure about the titling is because of the other limit cases you mention. I think one reason for the current mismatch between the lead and the main article is that the former is more of a general introduction than a genuine WP:LEAD. 81.147.165.192 (talk) 14:21, 27 January 2014 (UTC)

A quick and dirty fix would be to keep the same title but mention first thing in the lede that actually the topic is broader that what the title strictly says. Then there could be a series of redirects so that people who look for say "Music written in all 12 major keys" or "Music written in all flat keys" or "Music written in all plain-chant modes", etc. would get here. Contact Basemetal here 14:28, 27 January 2014 (UTC)

The idea of such sets is to cycle systematically through some "natural" subset of the 24 (including the whole of the 24); or through some series of modes; for example there are sets going through all the modes of plain-chant (I think Alkan wrote something like that for the organ). What would be a good title to sum up the idea which seems to be operative in the writing of such sets? Contact Basemetal here 14:16, 27 January 2014 (UTC)

Not to discourage anyone from thinking about a broader title, I've inserted above maybe a more realistic (but less esthetically pleasing) solution. Contact Basemetal here 14:31, 27 January 2014 (UTC)

Final attempt: Is there or isn't there any support for the following proposal

1. keep for convenience the same page title
2. broaden the scope of this article, to for example, music in all major keys, music in all minor keys, etc.
3. explain the wider remit (in slight contradiction with the title) in the lede
4. using redirects to bring readers here when they look for those other cases

If there's no (explicit) support I'll just move on, but I do think such a change
would be useful Contact Basemetal here 13:43, 28 January 2014 (UTC)

Wholehearted support. This is already a useful and interesting page which contains a body of information that may not (to my limited knowledge at least) be so easily found elsewhere. We always need to consider what readers may be looking for or interested in... People who come to this page may have a wide range of individual queries or curiosities. I don't think that narrowing the scope artificially based on the incidental difficulties of coming up with a suitably broad title would be serving the interests of Wikipedia and its readers. 81.147.165.192 (talk) 23:20, 28 January 2014 (UTC)

It's yeas 2 nays 0 so far. I'll give other people another few days. And if it stays that way let's go ahead. Contact Basemetal here 21:08, 29 January 2014 (UTC)

I created the page because to my knowledge there was no such comprehensive collection of information in any standard reference works. The usual suspects (Bach's 48, Chopin's Op. 28, Shostakovich's 24 P&Fs ...) are often mentioned, but most of the rest are given short shrift or no shrift at all. The Bach Cantatas site did do some sterling work, though, and I mined that source extensively in my research.

Whenever we start talking about a set of 24 pieces in all keys, our minds (well, my mind, anyway) naturally think of works that are not exactly that but are close cousins -

• like Liszt's 12 Transcendental Études in all the flat keys; later complemented by Liapunov's set in all the sharp keys;
• or single pieces that progressively modulate from one key to the next to the next ... until we come back to the start (Beethoven's 2 Preludes);
• or sets of 24 spread over multiple opuses, but with (to my knowledge) no explicit acknowledgement ever given by the composer that he had traversed all the keys; yet it is very obvious that this was, or became, his intention because it is implausible that he just chose these keys at random and just happened by chance to choose 24 different ones in succession (I'm referring to the Preludes (Rachmaninoff) here).

This is why I decided to include such pieces, and I hope I adequately notated that they don't fit exactly into the scope of the title I chose. But I can see an argument for having such works in one or more separate articles.

The title was always a worry. It is clunky, and I tried to come up with something more concise, perhaps including the word "panharmonic" ... but I'm not sure that really fits, and it's hardly recognised as a word at all despite its obvious merits (only the Vietnamese! version of Wiktionary makes any mention of it). To my knowledge, there simply is no single word or even short phrase that is a synonym of "music written in all 24 major and minor keys". Which is a crying shame, given the amount of attention that's been given to this class of compositions over the centuries (far more than most people, including me, would ever have realised). In the absence of any better suggestions, we should probably keep the existing title, but I would gladly relinquish it if appropriate.

The above is my long-winded way of agreeing with Basemetal's sensible suggestion; sorry for the length, but I thought some insight into my thinking might serve a useful purpose. (As the originator, I chose to stay out of the discussion until now, preferring to wait for others to have their say.) -- Jack of Oz ^{[pleasantries]} 22:01, 29 January 2014 (UTC)

Comment: I think Jack deserves a major round of applause for creating the page/topic. I couldn't find anything similar in Grove, and the apparent absence (to our knowledge) of analogous discussions elsewhere is, imo, an illustration of Wikipedia at its encyclopedic best. So hats off!
Apart for the need to mention Beethoven's preludes specifically, my only real quibble was with the lead, which I feel needs to be updated in keeping with the current WP:LEAD. I think that, in tandem with Basemetal's ideas (including perhaps Alkan and the plainchant modes), this could be of benefit to what's already a really informative page. And, it seems, a rather original one... in a good sense! 81.147.165.192 (talk) 22:37, 29 January 2014 (UTC)

Thanks. I very much enjoyed writing it and doing the research for it, even if it did more or less overwhelm my life for more than a few weeks.

The other word I considered was "pantonal", but again, that doesn't fit because it refers to a single work to which all the tonalities, and none, apply. See pantonality, which includes 12-tone music, which would be on the far left (or communist) end of the tonality spectrum, whereas this article is about music on the far right (or fascist) end.  :) -- Jack of Oz ^{[pleasantries]} 22:12, 30 January 2014 (UTC)

While glad the political OR didn't dominate I can well believe that the composition took centre stage in Jack's quotidian (to venture another uncommonname) life. Fwiw, I'd never doubted the suitability of the page name, which still seems to me perfectly fit for purpose. With all the valuable work put into this reliably sourced page (which, it seems, is also actually quite original) I feel a true lead should be a no brainer (more or less...). And when talking about works spanning "all 24" I feel other analogous projects should fit in fairly naturally. 109.158.185.136 (talk) 13:55, 31 January 2014 (UTC) [previously 81.147.165.192]

Wishing also to thank Jack for thinking of the topic and creating this page Contact Basemetal here 13:16, 2 February 2014 (UTC)

Made a start. Here are the changes I've introduced:

• Rewrote the lead to indicate a more inclusive attitude. This is a start. Improvements to the wording of the lead and/or suggestions as to how it could be improved welcome.
• Made the main table sortable for the convenience of a reader wishing to quickly find, for example, those of those works written for a particular instrument.
• Pushed the "works out of scope" section to the end of the article; I believe it was too near the top.
• Did not include Beethoven's Op. 39 back in the main table but gave it its own section
• Pushed the discussion of enharmonic choices towards the bottom. I also intend to rewrite that section a bit more from the point of view of the average person than the theory buff. Please state any objection before or after.

Note I believe the main table should remain exclusively for those works that cover all 24 keys. All the other cases should go in their own sections. What do you think?

Contact Basemetal here 14:08, 2 February 2014 (UTC)

On choosing between Bb minor and A# minor

The article currently states:

"No well-known sets of 24 pieces include A-sharp minor. B-flat minor seems to be the universal choice in sets of 24, but there is no compelling reason why A-sharp minor should not be represented in works of this type, as it has no more accidentals in its key signature than C-sharp major or A-flat minor, both of which are represented. A-sharp minor does appear in Campagnoli's and Rinck's works mentioned above, along with C‑flat major, but those collections include both members of all six enharmonically equivalent pairs."

However, there *is* a compelling reason: in Classical compositions minor keys are usually the harmonic ones, with an additional sharp in the leading tone. A-sharp minor would have to use the inconvenient double sharp symbol, while C-sharp major and A-flat minor won't. You can't just count the number of accidentals in the key signatures.

Well, obviously, the more compelling thing here is, if this "analysis" is not sourced, why should we have it in our article at all? Does it improve anything? Ahyangyi (talk) 14:43, 10 January 2016 (UTC)

And yet G-sharp minor beats A-flat minor, although it is again a bit of an eyesore orthographically with F as the leading note. So there must be two factors here: more accidentals and double-sharping the leading note. The latter seems to be more effective as a deterrent (witness how E-flat minor beats D-sharp minor completely), and it is only in the case of G-sharp minor that there is really a dilemma: go with two fewer accidentals, or avoid the double sharp?

Also, in classical compositions, modulation to the dominant is very common early in the work. C-sharp major will then require an F for the sharpened fourth degree when this happens, while D-flat major won't. Modulation to the subdominant would be less common so early. (I don't capitalise the C because such distant keys don't seem to have been very popular in the Classical era.)

It's true that it's not sourced, though. Double sharp (talk) 08:22, 11 January 2016 (UTC)

I'm going to attempt to express a compelling reason for the distinction between the treatment of e.g. A# minor and C# major: Even though a minor key has the same key signature as its relative major, its tonic is three steps "up" in the circle of fifths (e.g. C - G - D - A), which puts it, in a sense, in closer relation to sharper keys (e.g. its own parallel major). For instance, an A minor passage of music is more likely to touch on or modulate to A major (three sharps) than a C major passage is; conversely, a C major passage is more likely to touch on C minor (three flats) than an A minor passage is. Cb major and Ab minor may both have seven flats, but in the case of Cb major, we are talking about a key whose parallel mode (Cb minor) has 10 flats; Ab minor's parallel mode (Ab major), however, only has four. In the case of A# minor, the parallel mode is A# major with 10 sharps; C# major's parallel only has four. Therefore, C# major as a home key has appreciably more affinity with "simpler" keys compared with A# minor as a home key (which has more affinity with Theoretical keys). This would also explain why Eb minor is usually preferred to D# minor, despite both having six accidentals in the key signature: Eb's parallel major has three flats instead of D#'s nine sharps! Of course, when it comes to choosing between G# and Ab minor, this factor is often - but not always - outweighed by G# minor having a simpler key signature than Ab; ditto with choosing between Db and C# major. I'm sure someone has outlined this somewhere (i.e. that you have to take into account not just the key signature but also the relative position of the tonic in the circle of fifths) - just not sure where a good source for it is. --Greenwoodtree 10:17, 26 September 2016 (UTC)

I agree with this, though it doesn't really explain G♭ vs F♯ major (both are about evenly split, whereas you would expect the latter to be better as it is more related to F♯ minor with only three sharps). Double sharp (talk) 16:27, 26 September 2016 (UTC)

It also has to do with the common modulation to the dominant. Not based on statistical evidence, but F# major likely has the most affinity with x-sharped keys (decreasing order): 6,7,5,3,9 (0,+1,-1,-3,+3). This also applies to modern songs. (To raise tension the most common choice is the dominant, but the scale itself doesn't require double-sharps when the dominant is C# major; for relaxation, the subdominant and the parallel minor are both common choices, and in a few rare cases the subdominant can also be used to raise tension. The submediant +3 is the relative minor's parallel major.) Bach's C# major prelude in Book 1 is a good demostration: It goes 0, +1, -1, 0, modulation(centred around +1), -1, 0, +1/0, -1/-3, +1/0, 0. So F# should be, though much less decisively, preferred over Gb generally; however on the other hand there are more instruments which are biased towards flats than instruments which are biased towards sharps. Among piano pieces, F# does seem to have an edge. Eb min over D# min is more decisive: With a minor tone it's probably more like 0,+1,-1,+3,-3/+4. Thus we have:

7 sharps:

Ab minor: -7,-6,-8,-4 barely desirable (1st)

Cb major: -7,-6,-8,-10 not desirable, not helped by the fact that the tonic is a white key which can simply be notated as B (3rd)

A# minor: 7,8,6,10 not desirable (4th)

C# major: 7,6,8,4 barely desirable (2nd)

6 sharps:

F# major: 6,7,5,3 desirable (2nd)

Gb major: -6,-5,-7,-9 desirable (3rd)

D# minor: 6,7,5,9 barely desirable (4th)

Eb minor: -6,-5,-7,-3 desirable (1st)

Of course, this is only speaking in general. W7n (talk) 11:41, 18 July 2017 (UTC)

@W7n: I largely agree (although it would be nicer to have a source for it). ^_^ Double sharp (talk) 14:35, 18 July 2017 (UTC)

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Tuning / Temperament

The fact that this article doesn't mention temperament or tuning, which seems pretty vital to the concept of working through all the keys, seems like it's missing something fundamental. If I have time, I'll try to see if I can figure out how to weave that in — I'm not sure I understand it deeply enough to write authoritatively about it, so it'll take some time to grab the right references to do it. Jun-Dai (talk) 14:01, 26 January 2023 (UTC)

Major increase in content

Thanks to everyone who's added to or otherwise improved this article over the years. I believe it has become the most extensive and thorough exposition of the 24 major/minor keys subject anywhere on the internet. It can only ever get better.

You might have noticed I've been working on it quite extensively recently. I decided it was time for a thorough review of all the 24 major/minor works on the public record that were accessible online. In my research over a couple of months I discovered a great many more pieces than I – and I assume most of us – were previously aware of.

There are some real gems among the new stuff. Top of my personal list is Eduard Abramian's 24 Preludes (1952-72). If you love Khachaturian, and music tinged with that ineffable Armenian mystic melancholy, you will adore these fantastic pieces. That they are not better known is just one of those unfathomable mysteries. They're all on youtube, with scores, so do yourselves a favour and take a listen. Then spread the word.

But our work is not yet done. I've discovered a bunch of other stuff, which falls into 3 categories:

• (A) definitely or probably in scope but I don't know what key sequence they employ
• (B) not enough information to say whether they're in scope or not
• (C) definitely out of scope (e.g. Debussy's preludes).

I need more eyes to help track items (A) and (B) down and, where appropriate, add them.

These works are all for piano solo unless otherwise indicated.

Category A: In scope (probably) but more info needed about key sequence

• Niels Viggo Bentzon, The Tempered Piano: 14 sets of 24 preludes and fugues; Bach's order claimed; score unavailable
• Christopher Brown (b. 1943): 24 Preludes and Fugues, Op. 98, 2018
• Alan Bush: 24 Preludes, Op. 84, 1977
• David Cope: The Well-Tempered Disklavier, 48 preludes and fugues
• Richard Cumming: 24 Preludes, 1968-69
• Geoff Cummings-Knight: 24 Preludes, 1985
• Carl Czerny: 50 Exercices progressifs dans tous les tons majeurs et mineurs, Op.840
• François Demierre: 24 Préludes dans tous les tons majeurs et mineurs
• David Diamond: 52 Preludes and Fugues, 1939-42
• Richard Flury: 24 Preludes, 1952
• William Gillock: 24 Lyric Preludes in Romantic Style, 1958
• Michelle Gorrell: Well-Tempered Licks & Grooves: 24 Preludes & Fugues in Jazz Styles
• Hiroshi Hara: 24 Preludes & Fugues, 1981
• Richard Hofmann: 32 Special-Etüden in allen Dur- u. Molltonarten zur Ausbildung der Technik u. des Gehörs, 1886
• Leslie Howard: 24 Classical Preludes for Piano, Op. 25
• Hans Huber: 24 Preludes and Fugues, Op. 100, piano 4-h
• Joseph Jongen: Vingt-quatre petits préludes pour piano dans tous les tons, Op. 11, organ (some exist in versions for piano), 1940-41
• Johann Christian Kittel: 16 Preludes in all the keys, organ; spans C to G, major and minor. 24 preludes were planned but the work was left unfinished
• Karl Klindworth: The skill in playing the piano, 24 pieces of exercise in all major and minor keys (1897); 24 pieces of exercise in all major and minor keys for the training of skill in playing the piano
• Charles Koechlin: 30 Vocalises in all major keys, Opp. 152, 154, voice & piano, 1935
• Craig Sellar Lang: A miniature 48; two books of short preludes & fugues in all keys, Op. 64, 1949
• Heinrich Gerhard Lentz: Collection de préludes dans tous les tonsusites pour le pfte, 1826
• Désiré Magnus: 24 Petite sonatines, très faciles dans tous les tons majeurs et mineurs, Op. 231
• Étienne Ozi: Nouvelle méthode de basson, 1787
• Jaan Rääts: 24 Marginalia, Op. 65; 24 Estonian Preludes, Op. 80
• Jean-Henri Ravina: 100 Préludes dans tous les tons majeurs et mineurs, Op. 110
• Luca Ricci: 4 Preludi e Fughe per Pianoforte, Op.16; "Small collection of preludes and fugues, one prelude and one fugue for each 24 tones"; appears to be ascending chromatic but IMSLP has only first 4 nos
• Hans Sitt: Dur und Moll: 28 leichte melodische Etüden für Violine (erste Lage) zur Befestigung der Intonation in allen Tonarten, Op. 107, violin, 1909
• Dave Smith: First Piano Concert (24 sonatas in all the keys)
• Ron Weidberg: Voyage to the End of the Millennium: 24 Preludes and Fugues, 1999
• Sylvius Leopold Weiss: Prelude which contains all the musical tones, for lute, lost
• Wilh3lm: 24 Preludes, Op. 26; said to be in same order as Chopin
• John Ramsden Williamson: Palindromic Preludes (at least 8 sets of 12), New Preludes; generally consist of 12 major or minor keys
• Wilhelm Würfel: Verzameling etudes in de vorm van preludes inalle grote en kleine toonsoorten
• Ivan Wyschnegradsky: 24 Préludes dans tous les tons de l'échelle chromatique diatonisée à 13 sons, Op. 22, 2 pianos in quarter-tones;1934, rev, 1960

Category B: More info needed to determine whether in scope or not

• Vasif Adigozalov, 24 Preludes, 1995
• Mark Alburger, 12 Preludes & Fugues, Op. 60, 'Topical'; key sigs are given but preludes and fugues are in unrelated keys, and some pieces are in indeterminate keys
• Hendrik Andriessen, Intermezzi: 24 pieces in two books, organ, 1935, 1943-46
• Algernon Ashton: 24 sonatas
• Steven Beall: 24 Preludes
• Fritz Behrend (d. 1972): 24 Preludes & Fugues, Op. 51
• Agostino Belloli: 24 Etudes, horn; key sigs not shown but accidentals used to create keys
• Antoine Beuger: 24 petits préludes pour la guitare
• David Borden: 12 Preludes & Fugues
• Joseph Callaerts: 24 pieces for organ in 2 series each with 4 books, Opp. 20-23, 28-31; some info on IMSLP
• Ferdinando Carulli: 24 Preludes, Op. 114, guitar
• Lawrence Chandler: The Tuning of the World; a realisation of his evolving 24-hour, 24 part, sustained tone composition, for octet, with tuned sine wave generators
• Charles Chaulieu: Eighteen nouveaux et petits préludes pour le piano, oú l'on a employé tous les signes usités en musique pour les mouvemens et les nuances, Op. 99
• Gayane Chebotaryan: Twelve Preludes and Fugues on Armenian Modes
• Erik Chisholm: 24 Preludes from the True Edge of the Great World
• Marius Constant: 24 Preludes, orchestra
• Edward Cowie: Rutherford's Lights, 24 pieces, recorded 2010
• Edward Cowie: Bird Portraits. 24 Sonic Portraits of British Birds, violin & piano, 2020
• Edward Cowie: Where Song was Born. 24 Sonic Portraits of Birds of Australia, flute & piano, 2021
• Carl Czerny: The Art of Preluding, Op.300; 24 Airs populaires en rondeaux, Op.609; (25) Grandes études de salon, Op.756; 50 Etudes de Velocité, Op.818; 50 Grandi Studi di Perfezionamento, Op.409; 24 National Airs, Op.455; Le Perfectionnement, Op.755, 25 studies
• Stéphane Delplace: 30 Single-paged Preludes
• Leonid Desyatnikov: Songs of Bukovina. 24 Preludes for Piano
• Carlo Domeniconi: 24 Preludes, guitar
• Gerard Drozd: 24 Preludes and Fugues, Op. 86 (guitar); 24 Preludes and Fugues, Op. 108 (piano); 24 Preludes and Fugues, Op. 204 (2 guitars)
• Balys Dvarionas (d. 1972): 24 pieces in all tonality IN SCOPE: added to article
• Jacob Evarts: 24 Little Preludes for Solo Piano, 2017
• Zdeněk Fibich: Nálady, dojmy a upomínky [Moods, Impressions and Souvenirs], Opp. 41, 44, 47, 57, 376 pieces in 21 books (not in scope on a cursory inspection, but a closer look is required)
• Arkady Filipenko: Preludes and fugues in all the keys, mid-1930s (Score lost during World War II)
• André Fleury: Vingt-quatre pièces pour orgue ou harmonium, 1930-33
• Johann Jakob Froberger: Libro Secundo (1649), Libro Quarto (1656), organ; each book has four chapters and contains 24 pieces.
• Anthony Girard: 24 preludes, orchestra, 1992
• Giacomo Gorzanis (d. 1579): 24 Passamezzos modernos (“major”) and anticos (“minor”) with saltarellos
• Nikolai Gudiashvili: 24 Preludes & Fugues, 1975
• Alexandre Guilmant: Pièces dans différents styles, 18 books; L'organiste pratique', 12 books; organ: doubtful - first 5 books show no pattern
• William Herschel: 24 capriccios, violin; 24 sonatas, organ; 24 pieces, organ
• Joseph William Holder: 28 Preludes for piano, composed expressely for the publishers, with additions by C. Chaulieu
• Alexander Iakovtchouk: see under Yakovchuk
• Milan Iglo: 24 Preludes and Fugues on Czech Folk Themes
• Gilbert Isbin: 24 Pieces, guitar
• Valentin Ivanov: 48 Preludes and Fugues for Piano (4 vols), 1988
• Bryan Johanson: 24 Preludes, guitar Not in scope [1]
• David Johnson: 12 Preludes and Fugues, 1995
• Aleksandr Kasyanov: 24 Preludes, 1968 IN SCOPE, added to article
• Jean Langlais: 24 Pièces pour l'orgue ou harmonium, 1933-39; probably not In scope but needs confirmation
• John Lessard: New Worlds for the Young Pianist I, 24 pieces, 1966
• Ernst Linko: 24 Preludes, Op. 6
• Clémet Loret: 24 Études pour orgue, 2 books (Book 2 only on IMLSP)
• Nodar Mamisashvili: 24 Preludes
• John McLeod: 12 Preludes, 1984; identified by tempo indication, not key
• Jānis Mediņš: 24 Dainas (c#, b, c, a, f#. F#, 6 sharps, -, Ab, f#, Eb, bb, eb, Eb, -, Db, 5 clear, E, -)
• Pietro Montani: 24 Preludes
• Bruce Cameron Munson (d. 2022): 24 Tonal Preludes & Fugues; possibly unfinished
• Frank Tveor Nordensten: 24 Preludes and Fugues, 1999; keys not specified
• Daniel Padrón: 24 Nocturnes, c. 2002
• Milo Paulus: 24 Preludes
• Nikolai Poloz: ??? (1983)
• Alexander Pirumov: Children's Album; 24 pieces, 1968
• Teresa Procaccini: 24 Pieces for 1 & 2 clarinets (or contralto saxophones) and piano (in 2 volumes), Op. 185, 2004
• Valery Saparov: 24 Preludes; boogie-woogie style
• Daniel Léo Simpson: 24 Preludes and Fugues IN SCOPE, added to article
• Konstantin Sorokin: 24 Preludes for piano, Op. 74; 24 Preludes and Fugues, Op. 75; Children's Corner, 24 pieces, Op. 4; Polyphonic Notebook for Youth - 24 Preludes & Fugues, Op. 78; Children's Notebook, 24 pieces, Op. 97
• Gustav Struempl: 24 Preludes, Op. 16 (unpublished notebook)
• Mikael Tariverdiev: Moods, 24 pieces, 1986 Not in scope [2]
• Sergio Varalonga: 24 Preludes
• Mieczysław Weinberg: 24 Preludes, Op. 100, cello solo, 1968 Key signatures not used; not in scope [3]
• Richard White: 48 Preludes and Fugues
• Andrew P. Wood: 24 Preludes, 2020
• Alexander Yakovchuk (aka Alexander Iakovchuk): 24 Preludes and Fugues
• Irina Yelcheva: 24 Preludes and Fugues, 1972-83; The first 7 commence on the white keys (CDEFGAB), the remaining 5 on the black keys (C#, Eb, F#, G#, Bb); not divided into major/minor.

Over to you, folks. All contributions gratefully accepted. -- Jack of Oz ^{[pleasantries]} 08:50, 24 June 2023 (UTC)