List of pieces which use the whole tone scale

• Béla Bartók

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" (Bartók 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)

• Dream Theater

"Overture 1928" (Traczyk n.d.)

• Alban Berg

Violin Concerto (Pople 1991, 74–75)

"Nacht" from Seven Early Songs (Gorrell 2002, 119)

• Hector Berlioz

Francs-Juges Overture (Antokoletz 2004, 312)

• Ferruccio Busoni

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).

• Alexander Dargomyzhsky

The Stone Guest, passage from Act 3 (Andrews 2001)

• Peter Maxwell Davies

Symphony No. 3, first movement, horns, between rehearsals P and Q (Davies 1985, 58–60)

• Claude Debussy

Chansons de Bilitis (Hull 1915, 62)

Children's Corner (Hull 1915, 61)

Images for piano, No. 1 (Hull 1915, 56)

Jeux (Salzman 1974, 203)

La mer (Andrews 2001; Antokoletz 2004, 20)

Pelléas et Mélisande, act 4 scene 2 (Andrews 2001)

Prélude à l'après-midi d'un faune, b. 32–33, 35–36 (Schoenberg 1978, 393n1)

Voiles from Préludes, Book 1 (Andrews 2001)

• Edward Elgar

The Dream of Gerontius (Hull 1915, 58)

• Blair Fairchild

A Baghdad Lover, nine songs for bass and piano, op. 25 (1911) (Aldrich and Meckna 2001)

• 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!" (Andrews 2001; Woodside 1990, 68)

• The Human Abstract

"Holographic Sight" (Karan 2011)

• Leos Janáček

Sinfonietta(1926)

• Sigfrid Karg-Elert

"Allegro burlesco" from the Sonatina exotique for piano (Hull 1915, 58)

• King Crimson

"Fracture" (Macan 1997, 55)

"Red" (Macan 1997, 55)

• Kraftwerk

"Spacelab" (from The Man-Machine) (Sigman 2011, 15)

• Franz Liszt

Fantasy and Fugue on "Ad nos, ad salutarem undam", for organ (Todd 1981, passim)

Réminiscences de Don Juan (Schoenberg 1978, 390)

• Olivier Messiaen

Quartet for the End of Time (movement 6, "Danse of Fury, for the seven trumpets", cello part) (Taruskin 2009, 237)

• Wolfgang Amadeus Mozart

A Musical Joke (Rosen 1998, 556)

• Maurice Ravel

Jeux d'Eau, page 1 (DeVoto 2004, 193)

• Vladimir Rebikov

Une fête, No. 6 (Hull 1915, 57)

Les rêves (Hull 1915, 57)

• Arnold Schoenberg

"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)

Pelleas und Melisande (Schoenberg 1978, 393)

String Quartet No. 1 (Frisch 1997, 197–201)

• Franz Schubert

"Sanctus" from the Mass No. 6 in E-flat major, D. 950 (Salzer and Schachter 1989, 215, 217–18)

• Karlheinz Stockhausen

Montag aus Licht, act 1, scene 6, "Das große Geweine", b. 879–81 (Kohl 2004, 131–32)

• Igor Stravinsky

L'histoire du soldat (Zur 1982, 517–18)

• Stevie Wonder

You Are The Sunshine Of My Life (introduction) (Perone 2006, 40)

See also

• Whole tone scale
• Impressionist music

References

• 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. Cited in Michael John Malone. Symbols of Transformation. , 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. 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. ISBN 9780313323669.
• Hull, Arthur Eaglefield. 1915. Modern Harmony: Its Explanation and Application. London: Augener Ltd.
• 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. 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 0-521-39976-9.
• 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. 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. 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.