List of pieces which use the whole tone scale

From Wikipedia, the free encyclopedia
Jump to navigation Jump to search

This is a list of notable musical works which use the whole tone scale.

     #(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
    >> }
A whole tone scale in Debussy's Voiles, mm.1-4.

See also[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.
  • Hull, Arthur Eaglefield. 1915. Modern Harmony: Its Explanation and Application. London: Augener Ltd.
  • Karan, Tim. 2011. "Track by Track: The Human Abstract", (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.
  • 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. Template: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, Conn.: 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-Korsakoff, Nikolai. 1886. Concerto [for Piano and Orchestra], Op. 30 (reduction for two pianos). 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, edired by H. Wiley Hitchcock. Engelwood Cliffs, NJ: 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, 223–55. Eastman Studies in Music 70. Rochester, NY: 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): 250–61.
  • Traczyk, Piotr. n.d. "Dream Theater: Overture 1928 – Guitar Tab",
  • 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.