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| Baroque music |
| Common practice period |
| Contemporary classical music |
| Expressionism (music) |
| Neoclassicism (music) |
| Neoconservative postmodernism |
| Neoromanticism (music) |
| New Objectivity |
| Postmodern music |
| Romantic music |
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| Atonal (see Atonality) |
| List of pieces that use serialism and twelve-tone
(see Serialism and Twelve-tone technique) |
| Extended techniques (see Extended technique) |
| Pandiatonic (see Pandiatonic) |
| Polytonal (see Polytonality) |
| Process music (see Process music) |
| Quartal (see Quartal harmony) |
| Quarter tone (see Quarter tone) |
| Whole tone (see Whole tone scale) |
| Phase (see Phasing) |
| Quotation (see Musical quotation) |
A selection of compositions using quarter tones:
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- Selected Ambient Works Volume II (1994); the track "02 [radiator]" features a quarter tone tuning in the basso ostinato.
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- Concert Variations for solo euphonium; the euphoniumist frequently creates quarter tones by using alternate "out of tune" valve combinations and subtle embouchure adjustments.
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- Cogluotobusisletmesi for piano, 2 or more hands. The notes, B, D, E, and F-sharp on the keyboard are lowered in tuning by a quarter tone in all octaves.
- Hans Barth
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- Concerto for Quarter Tone Piano and Quarter Tone Strings (1930)
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- Piano Quintet No. 1; the first movement features use of quarter-tones in the string parts.[1]
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- String Quartet No. 6; the third movement Burletta contains quarter-tone tuning used for parodistic effect.[2] Quarter tones are also used in Bartók's ballet The Miraculous Mandarin.
- Sonata for Solo Violin; the fourth movement Presto contains quarter-tones, but they are not "structural features." This movement also calls for third-tones.
- Violin Concerto no. 2; the cadenza in the final movement requires the use of quarter-tones, but only as an effect.[3]
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- Capricho for piano in quarter-tones (1959)
- Capricho for solo viola in quarter-tones (1926)
- Casi-sonatas 1-6 for solo violin, viola or cello in quarter-tones (c.1960s)
- Concertino in quarter-, eighth- and sixteenth-tones for violin, cello and harp with orchestra (1926)
- Concerto for 1/4-tone and 1/8-tone cello and orchestra (1958)
- Concerto No. 1 for quarter-tone violin and orchestra (1963)
- Concerto No. 2 for quarter-tone violin and orchestra (1964)
- Mass for Pope John XXIII for male chorus in quarter-tones (1920s)
- Preludio a Cristobol Colón for vocalizing soprano, octavina, flute, harp, violin, and guitar (1922)
- Serenata for cello in quarter-tones with English horn, harp, and string quartet (1927)
- 70 estudios for solo violin in quarter-tones (c. 1927?) {also for solo viola, cello, or double-bass}
- Sonata for solo guitar in quarter-tones (c.1924)
- Sonata (Amanecer en Berlin 13) for solo harp in quarter-tones (1931)
- Sonata casi fantasia for violin, violoncello and guitar in quarter-, eighth- and sixteenth-tones (1925)
- String Quartet in quarter-tones (c.1924) {There are also 7 others with some using smaller intervals.}
- Suite for solo guitar in quarter-tones (1960)
- 3 estudios en forma de sonatina for solo violin in quarter-tones (1927)
- Symphony No. 1 (Colombia) for orchestra in quarter-tones (c.1924)
- Symphony No. 2 (Colombia) for orchestra in quarter-tones (1926)
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- Chiaroscuro for two pianos tuned a quarter tone apart (1997)
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- Xanadu for two pianos tuned a quarter tone apart (ca. 1930)
- Dirge for two pianos tuned a quarter tone apart, published in New Music quarterly (January 1937)
- Dirge for violin and piano (1937)
- Rumba for two pianos tuned a quarter tone apart (ca. 1937)
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- Soundtrack score for A Simple Plan features quarter-tones
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- Lux Subtilissima (2006), "Consort Musicke" for string quartet (1/4 and 1/6 tones are used)
- En la soledat i el silenci (2007), for hyper-tempered koto and guitar
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- Soundtrack score for Alien features quarter-tones
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- Quaternion for cello quartet, two of the cellos are tuned down a quarter tone
- Music for Flute, Strings, and Percussion, the strings are divided into two sections, one of which is tuned a quarter-tone lower than the other.
- Garten von Freuden und Traurigkeiten for flute, harp, and viola includes a quarter-sharp and three-quarter-sharp at one point in the piece.
- Sampo Haapamäki
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- Velinikka, concerto for quarter-tone accordion (2008)
-
- Hommage à Steve Reich, for piano player on two pianos tuned a quarter tone apart (1983)
- Hommage à György Ligeti, for piano player on two pianos tuned a quarter tone apart (1985)
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- Suite for string orchestra (1917)
- Fantasy for violin solo in Quarter-tone System
- Fantasy for violin & quarter-tone piano, Op. 21
- Matka (The Mother), opera in quarter-tones for soloists, chorus, and orchestra (1930)
- Sonata for quarter-tone piano, Op 62
- String Quartet No. 2 ("In quarter-tone system"), Op.12
- String Quartet No. 12 ("In quarter-tone system"), Op. 90
- Suite No. 1 (Hába) for quarter-tone clarinet & quarter-tone piano, Op. 24
- Suite No. 6 (Hába) for quarter-tone piano, Op. 88
- Suite for 4 trombones in quarter-tone system, Op. 72
- Suite for violin solo in quarter-tone system, Op. 93
- Veli Kujala
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- Hyperchromatic Counterpoint for quarter-tone accordion and 5.0 surround tape (2006-2009)
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- Ramifications for 12 solo strings (1968-69), divided into two groups tuned a quarter-tone apart
- Sonata for Solo Viola, includes 1/4, 1/6, and 1/8 tones.
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- Soundtrack score for Wait Until Dark (1967) features extensive use of quarter-tones including two pianos tuned a quarter-tone apart
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- circles mostly in wood, a quarter-tone wind quintet in five movements (2002)
- Fair and Balanced, a quarter-tone saxophone quartet in four short movements (2004)
-
- Emanations (Emanacje, 1959) for two string orchestras tuned a quarter tone apart
- Threnody to the Victims of Hiroshima, for string orchestra, frequently makes use of quarter tones.
- Symphony #1 (1973), commissioned by the British firm Perkins Engines, is heavily quarter-tone, including clusters of such.
-
- Soundtrack score for Sybil (1976) features quarter-tones
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- The Angelus (words by Dennis Corbett) for Baritone & quartertone piano or keyboard
- Hot Cross Buns for quarter-tone pianos
- Little Pieces for quarter-tone pianos
- Quartertone Carol for High Voice with Alto, Tenor & Bass Recorders
- Quartertone Lullabies 1 and 2 for Alto, tenor & bass recorder
- Quartertone Lullaby 3 (Midnight Microtone) for Alto recorder, flute, and clarinet
- Quartertone Recorder Duets
- Sarabande for quarter-tone harpsichords (1986)
- Vigils 1 and 2 for quarter-tone organ
Ivan Wyschnegradsky
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- Quatre fragments, for 2 pianos in quarter tones (2nd version), Op. 5 (1918)
- Chant douloureux et étude, for violin & piano, Op. 6 (1918)
- Méditation sur deux thèmes de la Journée de l'existence, for cello & piano, Op. 7 (1918-1919)
- L'Évangile Rouge, cycle for voice & 2 pianos in quarter tones (2nd version), Op. 8 (1918-1920)
- Chants sur Nietzsche (2), for baritone & 2 pianos in quarter tones, Op. 9 (1923)
- Variations sur la note Do, for 2 pianos in quarter tones, Op. 10 (1918-1920)
- Chant nocturne, for violin & 2 pianos in quarter tones, Op. 11 (1927)
- Dithyrambe, for 2 pianos in quarter tones, Op. 12 (1923-1924, revised vers. by Bruce Mather, 1991)
- String Quartet No. 1, Op. 13 (1923-1924)
- Chœurs (2, words by A. Pomorsky), for mixed choir, 4 pianos in quarter tones & percussions, Op. 14 (1926)
- Prélude et fugue sur un chant de l'Évangile rouge, for quartertone piano, version for string quartet (lost), Op. 15 (1927)
- Prélude et danse, for 2 pianos in quarter tones, Op. 16 (1926)
- Ainsi parlait Zarathoustra, symphonie, for 4 pianos in quarter tones (sketches for orchestration in Bibliothèque Nationale, Paris), Op. 17 (1929-1930, revised 1936, Ed. L'Oiseau-Lyre)
- String Quartet No 2, Op. 18 (1930-1931)
- Études de concert(2), for 2 pianos in quarter tones, Op. 19 (1931)
- Étude en forme de scherzo, for 2 pianos in quarter tones, Op. 20 (1931)
- Prélude et fugue, for 2 pianos in quarter tones, Op. 21 (1932)
- Pièces (2), for 2 pianos in quarter tones, without Op. (1934)
- Premier fragment symphonique, for 4 pianos in quarter tones, Op. 23a; for orchestra, Op. 23c (1934, orch. vers. 1967)
- Deuxième fragment symphonique, for 4 pianos in quarter tones, timpani & percussions, Op. 24 (1937)
- Poème, for 2 pianos in quarter tones, without Op. (1937)
- Linnite, pantomime in 1 act & 5 scenes, for 3 voices & 4 pianos in quarter tones, Op. 25 (1937)
- Préludes dans tous les tons de l'échelle chromatique diatonisée à 13 sons (24), for 2 pianos in quarter tones, Op. 22 (1934, rev. 1960)
- À Richard Wagner, for baritone & 2 pianos in quarter tones, Op. 26 (1934)
- Acte chorégraphique, for bass-baritone, mixed choir, 4 pianos in quarter tones, percussions & ad. lib. instruments (viola, clarinet in C & balalaika), Op. 27 (1937-1940)
- Cosmos, for 4 pianos in quarter tones, Op. 28 (1939-1940)
- Chants russes (2), for bass-baritone & 2 pianos in quarter tones, Op. 29 (1940-1941)
- Troisième fragment symphonique, for 4 pianos in quarter tones & ad. lib. percussions, Op. 31 (1946)
- Fugues (2), for 2 pianos in quarter tones, Op. 32 (1951)
- Variations sans thème et conclusion (5), for orchestra, Op. 33 (1951-1952)[8]
- Sonate en un mouvement, for viola & 2 pianos in quarter tones, Op. 34 (1945-1959)
- Transparence I, for Onde Martenot & 2 pianos in quarter tones, Op. 35 (1953)
- Quatrième fragment symphonique, for 4 Ondes Martenot & 4 pianos in quarter tones, Op. 38c (1956)
- Polyphonies spatiales, for piano, harmonium, Onde Martenot, percussions & string orchestra, Op. 39 (1956)
- Études sur les densités et les volumes, for 2 pianos in quarter tones, Op. 39b (1956)
- Dialogue à deux, for 2 pianos in quarter tones, Op. 41 (1958-1973)
- Dialogue, for 2 pianos in quarter tones, 8 hands, without Op. (1959)
- Composition en quarts de ton for string quartet Op. 43 (1960)
- Études sur les mouvements rotatoires, for 2 pianos in quarter tones, 8 hands, Op. 45a; for chamber orchestra, Op. 45c (1961)
- Composition II, for 2 pianos in quarter tones, Op. 46b (1960)
- Transparence II, for Onde Martenot & 2 pianos in quarter tones, Op. 47 (1962-1963)
- Intégrations, for 2 pianos in quarter tones, Op. 49 (1962)
- L'Éternel Étranger, opera, for voices, mixed choir, 4 pianos in quarter tones, percussions and orchestra (unfinished orchestration), Op. 50 (1940-1960)
- Symphonie en un mouvement, for orchestra, Op. 51b (1969)
- Composition, for Ondes Martenot quartet, Op. 52 (no date)
- String Trio, Op. 53 (1979, unfinished, completed by Claude Ballif)
- Trauergesang, Epigrammen, Ein Stück, for quartertone piano, without Op. (undated, found by M. Smolka in Alois Hába's archives in 1992)
- Toufic Succar
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- Prélude
- Suite Op.56 No.1 Mode Bayati: mijana-errêdde-hida-ala'mayyem-oumi thaddare ya Zêna-'al yadi
- Suite Op.56 No.2 Mode Huzam: marmar zamani-al'of mach'al-ya hnayyina-a'rrozana-ya laylu'ssabi-meshta'erja'adday'a
- Suite Op.59 No.1 Mode Iraqi: takassim-remmanâ ya habibi-Idi widak'al wadi-ah ya asmar el lawn-bouzzoulof-ya ghzayel
- Remmanâk yâ habîbi
- Jamlo
- Sâfar Zamâni
- Idi w'iadk 'al wadi
- Ala 'mayyam
- Yal laylous'sabi
- Bellazi askar
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Prélude
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Remmânak ya habibi
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Idi w idak 3al wadi
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : L eyn el mal'a la' ini
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Etsan ya sabaya
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Zahlé
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Layya w layya
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Hezzé mahremtek
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Ya buzzuluf
- SUITE POPULAIRE LIBANAISE en ré rast op.17 pour quatuor à cordes : Ya gzayyel
- FANTAISIE ORIENTALE en ☺ré saba op.52 pour violoncelle : Adagio - Allegro
- FANTAISIE ORIENTALE en ☺ré saba op.52 pour violoncelle : Ta'asim - Andante
- FANTAISIE ORIENTALE en ☺ré saba op.52 pour violoncelle : Dabké - Allegretto
- SUITE EN LA BAYATI pour violon seul op.80 : Introduction: Adagio Fugue: Andantino
- SUITE EN LA BAYATI pour violon seul op.80 : Ta'asim (Adagio)
- SUITE EN LA BAYATI pour violon seul op.80 : Adagio - Allegretto
- QUATRE MORCEAUX POUR CHANT ET PIANO : A tari' el eyn op.44 n.2
- QUATRE MORCEAUX POUR CHANT ET PIANO : Hanin op.44 n.3
- QUATRE MORCEAUX POUR CHANT ET PIANO : Limada op.49 n.3
- QUATRE MORCEAUX POUR CHANT ET PIANO : Nay el hawa op.49 n.2
References
- Read Gardner: 20th-Century Microtonal Notation (New York, Greenwood Press, 1990)
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