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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]

${ #(set-global-staff-size 14) \new PianoStaff << \new Staff << \relative c'' { \tempo Modéré 8 = 88 \clef treble \key c \major \time 2/4 r4^\markup { "(Dans un rythme sans rigueur et caressant.)" } <e gis>8--~(_\markup { \dynamic p \italic "très doux" } <e gis>32 <d fis> <c e> <bes d> <aes c>8..\< <gis' c>32 <fis bes>4)\> r4\! <e gis>8--~(_\markup { \dynamic p } <e gis>32\> <d fis> <c e> <bes d>\! <aes c>4~_\markup { \italic "più" \dynamic p } <aes c>16\> <fis bes> <e aes> <d fis>)\! } >> \new Staff << \relative c' { \clef bass \key c \major \time 2/4 R2 R R R } >> >> }$

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
- The Dream of Gerontius^[20]
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
- "Holographic Sight"^[23]
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
- Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam", for organ^[26]
- Réminiscences de Don Juan^[27]
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
- A Musical Joke^[30]
Giacomo Puccini
- Madama Butterfly
Maurice Ravel
- Jeux d'Eau, page 1^[31]
Vladimir Rebikov
- Une fête, No. 6^[32]
- Les rêves^[32]
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
- L'Histoire du soldat^[42]
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

References

^ 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.

[FOOTNOTEAntokoletz1984245-1] Antokoletz 1984, 245.

[FOOTNOTEAntokoletz1984263-2] Antokoletz 1984, 263.

[FOOTNOTEAntokoletz198488-3] Antokoletz 1984, 88.

[FOOTNOTEAntokoletz1984280-4] Antokoletz 1984, 280.

[FOOTNOTEBartók1935414-5] Bartók 1935, 414.

[FOOTNOTECooper199670-6] Cooper 1996, 70.

[FOOTNOTEPople199174–75-7] Pople 1991, 74–75.

[FOOTNOTEGorrell2002119-8] Gorrell 2002, 119.

[FOOTNOTEAntokoletz2004312-9] Antokoletz 2004, 312.

[FOOTNOTEStuckenschmidt1970109-10] Stuckenschmidt 1970, 109.

[FOOTNOTELeikin2015128-11] Leikin 2015, 128.

[FOOTNOTEAndrews2001-12] Andrews 2001.

[FOOTNOTEDavies198558–60-13] Davies 1985, 58–60.

[FOOTNOTEHull191562-14] Hull 1915, 62.

[FOOTNOTEHull191561-15] Hull 1915, 61.

[FOOTNOTEHull191556-16] Hull 1915, 56.

[FOOTNOTESalzman1974203-17] Salzman 1974, 203.

[FOOTNOTEAntokoletz200420-18] Antokoletz 2004, 20.

[FOOTNOTESchoenberg1978393n1-19] Schoenberg 1978, 393n1.

[FOOTNOTEHull191558-20] Hull 1915, 58.

[FOOTNOTEAldrich_and_Meckna2001-21] Aldrich and Meckna 2001.

[FOOTNOTEWoodside199068-22] Woodside 1990, 68.

[FOOTNOTEKaran2011-23] Karan 2011.

[FOOTNOTEMacan199755-24] Macan 1997, 55.

[FOOTNOTESigman201115-25] Sigman 2011, 15.

[FOOTNOTETodd1981passim-26] Todd 1981, passim.

[FOOTNOTESchoenberg1978390-27] Schoenberg 1978, 390.

[FOOTNOTETaruskin2009237-28] Taruskin 2009, 237.

[FOOTNOTEMcMillan2008153-29] McMillan 2008, 153.

[FOOTNOTERosen1998556-30] Rosen 1998, 556.

[FOOTNOTEDeVoto2004193-31] DeVoto 2004, 193.

[FOOTNOTEHull191557-32] Hull 1915, 57.

[FOOTNOTERimsky-Korsakov188625–26-33] Rimsky-Korsakov 1886, 25–26.

[FOOTNOTEFrisch1997218-34] Frisch 1997, 218.

[FOOTNOTEFrisch1997233–234,_245-35] Frisch 1997, 233–234, 245.

[FOOTNOTESalzman197432-36] Salzman 1974, 32.

[FOOTNOTEFrisch1997103–104-37] Frisch 1997, 103–104.

[FOOTNOTESchoenberg1978393-38] Schoenberg 1978, 393.

[FOOTNOTEFrisch1997197–201-39] Frisch 1997, 197–201.

[FOOTNOTESalzer_and_Schachter1989215,_217–218-40] Salzer and Schachter 1989, 215, 217–218.

[FOOTNOTEKohl2004131–132-41] Kohl 2004, 131–132.

[FOOTNOTEZur1982517–518-42] Zur 1982, 517–518.

[FOOTNOTEMoreira201453-43] Moreira 2014, 53.

[FOOTNOTETarasti2009231–232-44] Tarasti 2009, 231–232.

[FOOTNOTEPerone200640-45] Perone 2006, 40.

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PROFILPELAJAR.COM

List of pieces that use the whole-tone scale

See also

References