List of quarter tone pieces

A selection of compositions using quarter tones:

This list of songs or music-related items is incomplete; you can help by expanding it.


Concert Variations for solo euphonium;[1] "each variation is based on different performance techniques of the instrument, including quarter-tones"[2]
Çoǧluotobüsişletmesi for four pianos.[3] "in which four of the 12 pitches of the chromatic scale are tuned a quarter tone flat"[4]
...until' version 7 for guitar (1980).[5]
  • Hans Barth
Concerto for Quarter Tone Piano and Quarter Tone Strings (1930)[6]
String Quartet No. 6; the third movement Burletta contains quarter-tone tuning used for parodistic effect.[7] Quarter tones are also used in Bartók's ballet The Miraculous Mandarin.[8]
Sonata for Solo Violin; the fourth movement Presto contains quarter-tones, but they are not "structural features."[9] 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.[10]
Blurred Lines for violin and harpsichord (1997)[11]
Quarter-Tone Quartet, Op. 20.[12]
Chamber Concerto, for violin, piano, and 13 winds.[13]
E vó (1972).[14]
Twelve Microtonal Etudes: "24 Notes: Moderato" (1980).[15]
Piano Quintet No. 1 (1923); the first movement features use of quarter-tones in the string parts.[16]
Polyphonie X (1951).[17]
Le Visage nuptial (1946).[14]


Capricho for piano in quarter-tones (1959)[18]
Capricho for solo viola in quarter-tones (1926)[18]
Casi-sonatas 1-6 for solo violin, viola or cello in quarter-tones (c.1960s)[18]
Concertino in quarter-, eighth- and sixteenth-tones for violin, cello and harp with orchestra (1926)[18]
Concerto for 1/4-tone and 1/8-tone cello and orchestra (1958)[18]
Concerto No. 1 for quarter-tone violin and orchestra (1963)[18]
Concerto No. 2 for quarter-tone violin and orchestra (1964)[18]
Mass for Pope John XXIII for male chorus in quarter-tones (1920s)[18]
Preludio a Colón for vocalizing soprano, octavina (modified bass guitar, in 8th tones), flute, 16th-tone harp, violin, and guitar (1922)[18]
Serenata for cello in quarter-tones with English horn, harp, and string quartet (1927)[18]
70 estudios for solo violin in quarter-tones (c. 1927?) {also for solo viola, cello, or double-bass}[18]
Sonata for solo guitar in quarter-tones (c.1924)[18]
Sonata (Amanecer en Berlin 13) for solo harp in quarter-tones (1931)[18]
Sonata casi fantasia for violin, violoncello and guitar in quarter-, eighth- and sixteenth-tones (1925)[18]
String Quartet in quarter-tones (c.1924) {There are also 7 others with some using smaller intervals.}[18]
Suite for solo guitar in quarter-tones (1960)[18]
3 estudios en forma de sonatina for solo violin in quarter-tones (1927)[18]
Symphony No. 1 (Colombia) for orchestra in quarter-tones (c.1924)[18]
Symphony No. 2 (Colombia) for orchestra in quarter-tones (1926)[18]
Vitebsk (1928).[14]
Chiaroscuro for two pianos tuned a quarter tone apart (1997)[19]
Xanadu for two pianos tuned a quarter tone apart (ca. 1930)[14]
Dirge for two pianos tuned a quarter tone apart,[20] published in New Music quarterly (January 1937)[21]
Rumba for two pianos tuned a quarter tone apart (ca. 1937)[22]


Reminiscences, 1971 for two pianos, one tuned a quarter-tone lower.[23]


Sonority Movement, for flute and nine harps.[24]
Soundtrack score for A Simple Plan features "very specific quarter tone detunings coming off the Emulator".[25]
Electric Bath[26]
Œdipe (opera)[27]
Third Violin Sonata ("In Popular Romanian Style")[28]


Galaxe [Galaxy] (for three quarter-tone guitars), Opus 46.[29]
Lux Subtilissima (2005), "Consort Musicke", for microtonal string quartet.[30]


Quaternion for cello quartet, two of the cellos are tuned down a quarter tone[31]
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.[32]


Velinikka, concerto for quarter tone accordion (2008)[33]
Quarter-Tone Piano Concerto (2017)[34]
3 Hommages, for piano player on two pianos tuned a quarter tone apart[35]
"Hommage à Steve Reich" (1982)
"Hommage à György Ligeti" (1984)
"Hommage à Josef Matthias Hauer" (1982)
Children's Play for unaccompanied youth chorus, Op.43 (1932)
Chor-Suite for unaccompanied chorus, Op. 13 (1922)
5 Choruses for unaccompanied youth chorus, Op. 42 (1932)
5 Mixed Choruses, Op. 44 (1932)
Detské nálady (Children's Moods), 8-song cycle for mid-ranged voice and quartertone guitar, Op.51 (1943)
Fantasy No. 1 for quartertone piano, Op. 17 (1923)
Fantasy No. 2 for quartertone piano, Op. 19 (1924)
Fantasy No. 3 for quartertone piano, Op. 20 (1924)
Fantasy No. 4 for quartertone piano, Op. 25 (1925)
Fantasy No. 5 for quartertone piano, Op. 26 (1925)
Fantasy No. 6 for quartertone piano, Op. 27 (1926)
Fantasy No. 7 for quartertone piano, Op. 28 (1926)
Fantasy No. 8 for quartertone piano, Op. 29 (1926)
Fantasy No. 9 for quartertone piano, Op. 30 (1926)
Fantasy No. 10 for quartertone piano, Op. 31 (1926)
Fantasy No. 11 for quartertone piano, Op. 89 (1959)
Fantasy for unaccompanied violin, Op. 9a (1921)[18]
Fantasy for unaccompanied violoncello, Op. 18 (1924)
Fantasy for violin and quartertone piano, Op. 21 (1925)[18]
Fantasy for viola and quartertone piano, Op. 32 (1926)
Fantasy for violoncello and quartertone piano, Op. 33 (1927)
(I) for unaccompanied men's chorus, Op. 36 (1928)
Matka (The Mother), quartertone opera in 10 scenes, Op. 35 (1927-29)[18]
Poesie zivota (Poetry of Life), 12-song cycle for soprano and quartertone guitar, Op. 53 (1943)
Pracující den (The working day) for unaccompanied male voices, Op. 45 (1932)
Solo for violin Op. 93 (1961–62)[18]
Sonata for quartertone piano, Op. 62 (1946-47)[18]
String Quartet No. 2 ("In quarter-tone system"), Op. 7 (1920)[18]
String Quartet 3 ("In quarter-tone system"), Op. 12 (1922)
String Quartet 4 ("In quarter-tone system"), Op. 14 (1922)
String Quartet 6 ("In quarter-tone system"), Op. 70 (1950)
String Quartet No. 12 ("In quarter-tone system"), Op. 90 (1959–60)[18]
String Quartet 14 ("In quarter-tone system"), Op. 94 (1963)
Suite No. 1 for quartertone piano, Op. 10 (1922, revised in 1932 as Op. 11a)
Suite No. 2 for quartertone piano, Op. 11 (1922, revised in 1932 as Op. 11b)
Suite No. 3 for quartertone piano, Op. 16 (1923)
Suite No. 4 for quartertone piano, Op. 22 (1924)
Suite No. 5 for quartertone piano, Op. 23 (1925)
Suite No. 6 for quartertone piano, Op. 88 (1957–59)[18]
Suite for clarinet and quartertone piano, Op. 24 (1925)[18]
1st Suite for quartertone guitar, Op. 54 (1943)
2nd Suite for quartertone guitar, Op. 63 (1947)
Suite for clarinet (unaccompanied), Op. 55 (1943)
Suite for quartertone trumpet and trombone, Op. 56 (1944)
Suite in quartertones for 4 trombones, Op. 72 (1950)[18]
Prométhée enchaîné (1849)[36]
Dans le délire de l'inutile for alto saxophone and piano[37]
String Quartet No. 5 (1962).[14]
O Lord, Bless Thy Mountains, Op. 276, for two pianos tuned a quarter tone apart (1974)[38]


Quarter-Tone Pieces (3), for two pianos, one tuned a quarter-tone sharp, S. 128 (K. 3C3) (1923–24)[39]
Symphony No. 4 (1910–1924)[40]


  • Pouria Khadem
’’Ariobarzanes - Persian Gate

(2019) is a piece for 2 pianos; tempered and microtonal prepared composed and performed by Pouria Khadem. He used Middle-East Music quarter-tones frequency to retune the piano. This piece is composed based on middle-east pitch and rhythm elements. It starts with an introduction by tempered piano and the performer should change the piano and use the microtonal one. The piece is about Ariobarzanes, the Persian military commander who led a last stand of the Persian army at the Battle of the Persian Gate against Macedonian King Alexander the Great in the winter of 330 BC.


Divination by Mirrors, for saw and strings. Strings are divided into two groups of 13 tuned 1/4 step apart. Each group plays only in its own pitch "universe". The featured bowed saw freely moves from standard tuning to pitches a 1/4 step away. Premiered at Merkin Concert Hall, NYC, 1998 by the New York Virtuosi, Dale Stuckenbruck saw soloist.[41]
Clocks and Clouds for 12-voiced women's choir and orchestra.[42]
Quartet No. 2 for strings.[43]
Ramifications for 12 solo strings (1968–69), divided into two groups tuned a quarter-tone apart.[44]


  • Stu Mackenzie
Flying Microtonal Banana by King Gizzard and the Lizard Wizard, extensive use of 24 TET on modified Western instruments, as well as use of Turkish zurna
  • Drake Mabry
Street Cries (11.10.83) for solo Bb clarinet features extensive use of quarter tones in all three movements.[45]
Soundtrack score for Wait Until Dark (1967) features extensive use of quarter-tones including two pianos tuned a quarter-tone apart[46]
The Night Visitor[47]
Indigenous Instruments[48]
On All Fours[48]
Deux monodies en quarts de ton (1938).[49]


Circles Mostly in Wood, a quarter-tone wind quintet in five movements (2002)[50]
Fair and Balanced, a quarter-tone saxophone quartet[51] in four short movements (2004)


Passio et mors Domini nostri Jesu Christi secundum Lucam (1966)
Threnody to the Victims of Hiroshima, for string orchestra, frequently makes use of quarter tones.[52]


  • Richard Stein
Zwei Konzertstücke, Op. 26, 1906.[53]
Pietà, for soprano, quarter-tone flugelhorn, and electronic music, from the opera Dienstag aus Licht[54]
Schlagquartett, for piano and 3 x 2 timpani (1952)[55]
Driads and Pan, for violin and piano, op. 30, summer 1915


Bryce (1976).[14]
Little Pieces for quarter-tone piano[56]
Quartertone Recorder Duets[56]
Romanza for solo recorder.[57]
Sarabande: Dance for Miriam Cooper, for microtonal harpsichord (1986)[58]
Sonata No. 1 for Solo Recorder ("The Bullfinch").[59]


Tre poesie di Montale (1978).


Chant douloureux et étude, for violin and piano, Op. 6 (1918)[60]
Cosmos, for 4 pianos in quarter tones, Op. 28 (1939–1940)[61]
Variations sans thème et conclusion (five), for orchestra, Op. 33 (1951–52)[62]


Six Sonatas for Solo Violin, Op. 27 (1924), Nos. 3 and 5[63]

See also


  1. Saito 2008, p. 12.
  2. Bach, "Concert Variations",
  3. Op de Coul 2012. "Uses quarter tones."
  4. Clements 2008.
  5. Couture & [2001].
  6. Gagné 2012, p. 26.
  7. Read 1990, p. 51.
  8. Somfai 1996, p. 269; Bayley 2001, p. 168
  9. Riley 1996, p. 275; Gagné 2012, p. 217
  10. Gagné 2012, p. 217; Read 1990, p. 52
  11. Johnston 2013; Michaels 2013
  12. Skinner 2007, p. vii.
  13. Read 1964, pp. 143–44.
  14. Gagné 2012, p. 217.
  15. Skinner 2007, p. 45.
  16. Gagné 2012, p. 217; Read 1990, p. 58
  17. Boulez 1986, pp. 129–31.
  18. Read 1990, p. 2.
  19. Gagné 2012, p. 217; Latham 2008, p. 11
  20. Hinson 1983, p. 42.
  21. Couper 1937.
  22. Saffle 2000, p. 230.
  23. Hinson 1983, pp. 52–53.
  24. "The nine harps are divided into three groups of three and tuned in sixth-tones, and the flute plays in quarter-steps" (Keislar 1991, p. 185).
  25. Lanser and Monahan & [1999].
  26. "At some point, he outfitted his entire trumpet section with four-valved trumpets whose additional valve allowed them to play quarter-tones" (Oteri 2004, n. 12).
  27. Bentoiu 2010, pp. 242–44.
  28. Patterson 2009, pp. 38–39.
  29. Anon. 2011.
  30. Forlivesi 2010.
  31. Anon. 2001, p. 347; Anon. 2007, p. 106
  32. Kurtz 2007, p. 232.
  33. Ahola 2012.
  35. "Georg Friedrich Haas: 3 Hommages",
  36. Macdonald 2001.
  37. Dans le délire de l'inutile: Scores at the International Music Score Library Project (IMSLP)
  38. Gagné 2012, p. 217; Rosner and Wolverton 2001,
  39. Pappastavrou 1974; Sherwood 2002, pp. 123–26
  40. Borchert 2015.
  41. New Yorker, Volume 74, Issues 1-10, p.23. F-R Pub. Corporation.
  42. Steinitz 2003, p. 201. However, Duchesneau (2011, p. 135) states that Ramifications is Ligeti's "only work in quarter tones".
  43. Steinitz 2003, p. 183. However, Duchesneau (2011, p. 135) states that Ramifications is Ligeti's "only work in quarter tones".
  44. Clendinning 1993, p. 219; Duchesneau 2011, p. 135; Griffiths 2001; Roig-Francolí 1995, p. 244; Steinitz 2003, pp. 179–80; Toop 1999, pp. 134–35.
  45. Richards 1992, .
  46. Benedetti, Brown, Laramie, and Williams 2004, p. 134.
  47. Brown 1994, pp. 177–78.
  48. Froom 1994, p. 135.
  49. Gagné 2012, p. 172.
  50. Oteri n.d.
  51. Anon. 2015.
  52. He et al. 2006, .
  53. Benson 2007, p. 228.
  54. Brotbeck 2004, pp. 56–57.
  55. "Konträr-Klangräume: 6 Pauken, deren Stimmung ganztönig, und zur Klavierstimmung vierteltönig verschoben" (Stockhausen 1964, p. 15).
  56. Hansen 2005, p. 285.
  57. "An arrow head pointing down over a note lowers it approximately a quarter step" (Tucker 1970, p. 7). "Both pieces require performing techniques not encountered in traditional music for recorder. The most striking is the production of quarter-tones, notated as pitches in the chromatic scale to be lowered slightly. Charts provided by the composer give fingering for all half- and quarter-tones from the low f' up to a precarious c''''" (Hettrick 1971).
  58. "'V' over a tone lowers it a quartertone … 'V' below a group of tones lowers that group a quartertone" (Tucker 1986, pp. 2–3).
  59. Hettrick 1971. "An arrow head pointing down over a note lowers it approximately a quarter step" (Tucker 1970, p. 4).
  60. Anon. 1997, p. 921.
  61. Maxwell 1993, p. 103.
  62. Read 1990, p. 76.
  63. Ysaÿe 1924, pp. 24, 26, 39, and 43.


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