List of pieces which use the whole tone scale

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Cantata Profana, b. 186–87 (Antokoletz 1984, 245)
Concerto for Orchestra, fifth movement, b. 484 (Antokoletz 1984, 263)
String Quartet No. 1, end of movement 3 (Antokoletz 1984, 88)
String Quartet No. 4, first movement, b. 157–60 (Antokoletz 1984, 280)
String Quartet No. 5 "The sequence of tonalities of the single sections [of the sonata form] produce the whole-tone scale" (Bartok 1935, 414); "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)." (Cooper 1996, 70)
"Overture 1928" (Traczyk n.d.)
Violin Concerto (Pople 1991, 74–75)
Nacht from "Seven Early Songs" (Gorrell 2002, 119)
Francs-Juges Overture (Antokoletz 2004, 312)
An die Jugend for piano, the right hand part of the "Preludietto, Fughetta ed Esercizio" is based on the whole tone scale (Stuckenschmidt 1970, 109).
The Stone Guest, passage from Act 3 (Andrews 2001)
Symphony No. 3, first movement, horns, between rehearsals P and Q (Davies 1985, 58–60)
La mer (Andrews 2001; Antokoletz 2004, 20)
Jeux (Salzman 1974, 203)
Pelléas et Mélisande, act 4 scene 2 (Andrews 2001)
Voiles from Préludes, Book 1 (Andrews 2001)
A Baghdad Lover, nine songs for bass and piano, op. 25 (1911) (Aldrich and Meckna 2001)
Ruslan and Lyudmila, near the end of the Overture, in the finale to act 1, and in the act-4 chorus "Pogibnet! Pogibnet!" (Andrews 2001; Woodside 1990, 68)
"Holographic Sight" (Karan 2011)
"Fracture" (Macan 1997, 55)
"Red" (Macan 1997, 55)
"Spacelab" (from The Man-Machine) (Sigman 2011, 15)
Fantasy and Fugue on "Ad nos, ad salutarem undam", for organ (Todd 1981, passim)
Quartet for the End of Time (movement 6, "Danse of Fury, for the seven trumpets", cello part) (Taruskin 2009, 237)
A Musical Joke (Rosen 1998, 556)
Jeux d'Eau, page 1 (DeVoto 2004, 193)
"Am Wegrend", op. 6, no. 6 (Frisch 1997, 218)
Chamber Symphony No. 1 (Frisch 1997, 233–34, 245; Salzman 1974, 32)
"Jesus bettelt", op. 2, no. 2 (Frisch 1997, 103–104)
String Quartet No. 1 (Frisch 1997, 197–201)
"Sanctus" from the Mass No. 6 in E-flat major, D. 950 (Salzer and Schachter 1989, 215, 217–18)
Montag aus Licht, act 1, scene 6, "Das große Geweine", b. 879–81 (Kohl 2004, 131–32)
L'histoire du soldat (Zur 1982, 517–18)
You Are The Sunshine Of My Life (introduction) (Perone 2006, 40)

See also[edit]

References[edit]

  • 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 Publishers.
  • 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 Publishers.
  • 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 Music Publishers Ltd.
  • 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.
  • 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, 116–32. Münster, Berlin, London: LIT-Verlag. ISBN 3-8258-7944-5.
  • Macan, Edward. 1997. Rocking the Classics.[full citation needed] ISBN 9780195098884.
  • Perone, James E. 2006. The Sound of Stevie Wonder: His Words and Music. The Praeger Singer-Songwriter Collection. Westport, Conn.: Praeger. ISBN 9780275987237.
  • Pople, Antony. 1991. Berg: Violin Concerto. Cambridge Music Handbooks. Cambridge and New York: Cambridge University Press. ISBN 0521399769.
  • 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, edired by H. Wiley Hitchcock. Engelwood Cliffs, NJ: Prentice-Hall. ISBN 0-13-935007-1.
  • 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.
  • 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): 250–61.
  • Traczyk, Piotr. n.d. "Dream Theater: Overture 1928 - Guitar Tab", AngelFire.com.
  • 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): 516–26.