Music written in all major or minor keys

The title page of the first book of J.S. Bach's The Well-Tempered Clavier, which covers all 24 major and minor keys.

There is a long tradition in classical music of writing music in sets of pieces that cover all the major and minor keys of the chromatic scale. These sets typically consist of 24 pieces, one for each of the major and minor keys (sets that comprise all the enharmonic variants include 30 pieces).

Examples include Johann Sebastian Bach's The Well-Tempered Clavier and Frédéric Chopin's 24 Preludes, Op. 28. Such sets are often organized as preludes and fugues or designated as preludes or études. Some composers have restricted their sets to cover only the 12 major keys or the 12 minor keys; or only the flat keys (Franz Liszt's Transcendental Études) or the sharp keys (Sergei Lyapunov's Op. 11 set). In yet another type, a single piece may progressively modulate through a set of tonalities, as occurs in Ludwig van Beethoven's Two Preludes through all twelve major keys, Op. 39.

The bulk of works of this type have been written for piano solo, but there also exist sets for piano 4-hands; two pianos; organ; guitar; two guitars; flute; recorder; oboe; violin solo; violin and piano; cello solo; cello and piano; voice and piano; and string quartet. There are examples of attempts to write full sets that, for one reason or another, were never completed (Josef Rheinberger's organ sonatas, Dmitri Shostakovich's string quartets, César Franck's L'Organiste).

Notable sets that cover all 24 keys

Composers who wrote multiple sets

Composer Niels Viggo Bentzon wrote 14 complete sets of 24 Preludes and Fugues.

A number of composers have written multiple sets of works covering all the keys of the scale.

Full details are shown in the tables below.

Variants

Single pieces that modulate through many keys

Ludwig van Beethoven wrote 2 Preludes through all 12 Major Keys, Op. 39 for piano (1789).[a] These two preludes each progressively traverse the 12 major keys. In Prelude No. 1, each key occupies from 2 to 26 bars. The keys of C# and D♭, which are enharmonically equivalent, are both represented. C major both opens and closes the set. In Prelude No. 2, the cycle of keys appears twice; in the first cycle, the number of bars per key ranges from 1 to 8; in the second half, after C every new key signature lasts for only one bar; the cycle concludes with 15 bars of C major. There is no evidence that Beethoven intended to write similar sets in the 12 minor keys.

Giovanni Battista Vitali (1632–1692) included in Artificii musicali, Op. 13 (1689) a passacaglia which modulates through eight major keys (out of twelve) from E♭ major to E major through the cycle of fifths.

The eighth fugue from Reicha's 36 Fugues.

Fugue No. 8 from Anton Reicha's Trente six Fugues pour le Piano-Forté composées d'après un nouveau systême (subtitled Cercle harmonique) modulates through all keys.

The rondo theme of Darius Milhaud's Le bœuf sur le toit is played fifteen times in all 12 major keys (twice in A major and three times in the tonic, C major). It also passes through every minor key except E minor and B minor.

Works covering all eight church modes

Around 1704, Johann Pachelbel completed his 95 Magnificat Fugues, which covered all eight of the church modes.

Charles-Valentin Alkan composed Petits préludes sur les huit gammes du plain-chant, for organ (1859, no opus number), a sequence of eight organ preludes covering each of the church modes.

In the music of the Eastern Orthodox Church, the doxasticon for Vespers of the Dormition is notable as a single hymn that includes passages in all eight tones of the Byzantine Octoechos.[5]

Other sets of 24 pieces

Not all sets of 24 pieces belong in this category. For example, there was no intention in Niccolò Paganini's 24 Caprices for solo violin, Claude Debussy's 24 Préludes for piano, or Pavel Zemek Novak's 24 Preludes and Fugues for piano[6] to cover all the keys. (Paganini may not have been aware of Pierre Rode's 24 Caprices for violin, which did span the 24 keys and were written almost at the same time as Paganini's.)

Chopin's 24 Études, Opp. 10 & 25 might have originally been planned to be in all 24 keys. In fact, apart from Nos. 7 and 8, the first series (Op. 10) is made of couples of études in a major key and its relative minor (the major key either preceding the minor key or following it) with none of the tonalities occurring twice (except for C major, which appears in No. 1 and then in the only couple which is not major-minor, i.e. Nos. 7 and 8). But in the second series (Op. 25) this tonal scheme gets more and more loose. It is still possible to see connections on a tonal basis between the couples of études in Op. 25, but they are not based on one principle (e.g. Nos. 3 and 4 in F major – A minor, two tonalities which Chopin likes to put together very often, as in his second Ballade). One might suppose that Chopin considered writing the études in all the tonalities but eventually came to the conclusion that it wasn't practical, and turned back to it later, for the 24 Preludes, Op. 28. The fact that the first étude of Op. 10 is made of arpeggios in C major draws a connection to Bach's first book of The Well-Tempered Clavier and makes it clear that Chopin had the tradition on his mind.[original research?]

Keys

There are 12 notes in the octave, and each of them can be the tonic of one major and one minor key. This gives 24 possible keys, but each note can be represented by several enharmonic note names (note names which designate the same actual note in the 12 note octave such as G# and A♭) and so each key can be represented by several enharmonic key names (e.g. G# minor and A♭ minor).

In practice, the choice of key name is restricted to the 30 keys whose signatures have no double flats or double sharps. (Such key signatures are used for so-called theoretical keys which are almost never encountered outside music-theoretical exercises.)[b] Keys with 6 flats and 6 sharps,[c] with 7 flats and 5 sharps[d] and with 5 flats and 7 sharps[e] are enharmonic to one another. Composers will, in most (though not all) cases, choose only one key from each enharmonic pair. But there are also cases of sets covering all 30 keys, which, in other words, include all enharmonic variants.

The table below outlines the choices made in the various collections listed here. The keys are in the order that J.S. Bach used.

Key Key signature Comments
1 C major No sharps or flats
2 C minor 3 flats
3 Either C# major 7 sharps Bach and Alkan chose C# major, but most composers have preferred D♭ major
or D♭ major 5 flats
4 C# minor 4 sharps
5 D major 2 sharps
6 D minor 1 flat
7 E♭ major 3 flats
8 Either D# minor 6 sharps Most composers of sets of 24 pieces have preferred E♭ minor over D# minor. Bach, Lyapunov and Ponce are among the few who have used D#. The first use of D# minor was in Bach's The Well-Tempered Clavier, in Fugue No. 8 from Book 1 (although its corresponding Prelude was written in E♭ minor), while D# minor was used for both the Prelude and the Fugue in Book 2. Another is in Lyapunov's Étude d'execution transcendante No. 2, subtitled "Ronde des Fantômes"
or E♭ minor 6 flats
9 E major 4 sharps
10 E minor 1 sharp
11 F major 1 flat
12 F minor 4 flats
13 Either F# major 6 sharps F# major was the choice of Bach, Hummel, Chopin, Heller, Busoni, Lyapunov, Arensky, Blumenfeld, Ponce, Shostakovich, Cui and Glière.
G♭ major was preferred by Alkan, Rachmaninoff, Scriabin, Shchedrin, Stanford and Winding.
or G♭ major 6 flats
14 F# minor 3 sharps
15 G major 1 sharp
16 G minor 2 flats
17 A♭ major 4 flats
18 Either G# minor 5 sharps Alkan wrote a piece in A♭ minor, and Brahms a fugue in this key, but most composers have preferred G# minor.
or A♭ minor 7 flats
19 A major 3 sharps
20 A minor No sharps or flats
21 B♭ major 2 flats
22 Either B♭ minor 5 flats No well-known sets of 24 pieces include A# minor. Two examples are from Bartolomeo Campagnoli's 30 Preludes for violin, and Christian Heinrich Rinck's 30 Préludes from his Practical Organ School, Op. 55, published before 1821.
or A# minor 7 sharps
23 Either B major 5 sharps No well-known sets of 24 pieces include C♭ major. While this key is sometimes used in compositions (particularly for the harp, which is especially suited to this key), it is not generally considered one of the standard keys because it is enharmonically equivalent to B major. With its tonic note being a white key on the piano, and its parallel minor (relative to E♭♭ major) having 10 flats, its usage is generally undesirable. C♭ major does appear in Campagnoli's and Rinck's works mentioned below, along with A# minor, but those collections include both members of all six enharmonically equivalent pairs.[8]
or C♭ major 7 flats
24 B minor 2 sharps

Order of keys in published works

The circle of fifths, whereby each major key is followed by its relative minor key, and the sequence proceeds in fifths (C, a, G, e, D, b ...) is a commonly used schema. Angelo Michele Bartolotti used this approach as early as 1640, and it was also adopted by such later composers as Rode, Hummel, Chopin, Heller, Busoni, Scriabin, Shostakovich, Kabalevsky and Kapustin.

In J.S. Bach's The Well-Tempered Clavier and some other earlier sets, major keys were followed by their parallel minor keys, and the sequence ascends chromatically (C, c, C#/D♭, c#, D, d, ...). The Bach order was adopted by Arensky, Glière, York Bowen and others.

Other composers derived their own schemas based on certain logical rationales. For example, in Alkan’s 25 Preludes, Op. 31, the sequence of keys moves alternately up a fourth and down a third: the major keys take the odd-numbered positions in the cycle, proceeding chromatically upwards from C to C again, and each major key is followed by its subdominant minor.

Yet others used no systematic ordering. Palmgren, Rachmaninoff and Castelnuovo-Tedesco's works are examples of this.

History

Bach and his precursors

See also: The Well-Tempered Clavier § Precursors

Johann Sebastian Bach's The Well-Tempered Clavier, two complete sets of 24 Preludes and Fugues written for keyboard in 1722 and 1742, and often known as "the 48", is generally considered the greatest example of music traversing all 24 keys. Many later composers clearly modelled their sets on Bach's, including the order of the keys.

It was long believed that Bach had taken the title The Well-Tempered Clavier from a similarly named set of 24 Preludes and Fugues in all the keys, for which a manuscript dated 1689 was found in the library of the Brussels Conservatoire. It was later shown that this was the work of a composer who was not even born by 1689: Bernhard Christian Weber (1712–1758). In fact, the work was written in 1745–50 in imitation of Bach's example.[9][10] While Bach can safely claim the title The Well-Tempered Clavier, he was not the earliest composer to write sets of pieces in all the keys:

As early as 1567, Giacomo Gorzanis [it; de; ca; fr] (c.1520–c.1577) composed twelve settings of the passamezzo antico and passamezzo moderno, each followed by a saltarello, in all 24 keys.[11][12] In 1584, Vincenzo Galilei, father of Galileo Galilei, wrote a Codex of pieces illustrating the use of all 24 major and minor keys.[citation needed]

In 1640, Angelo Michele Bartolotti wrote Libro primo di chitarra spagnola, a cycle of passacaglias that moves through all 24 major and minor keys according to the circle of fifths.[13] Also in 1640, Antonio Carbonchi wrote Sonate di chitarra spagnola con intavolatura franzese for guitar.[14]

In 1702, Johann Caspar Ferdinand Fischer wrote a cycle of 20 organ pieces all in different keys in his Ariadne musica. These included E major as well as E in Phrygian mode and again in Dorian mode, but not E minor per se. They also excluded C#/D♭ major, D#/E♭ minor, F#/G♭ major, G#/A♭ minor, and A#/B♭ minor. Bach modelled the sequence of his 48 Preludes on Fischer's example.[3]

In 1735, between Bach's two sets, Johann Christian Schickhardt wrote his L'alphabet de la musique, Op. 30, which contained 24 sonatas for flute, violin, or recorder in all keys.[15] In 1749, the year before Bach's death, Johann Gottlieb Goldberg, the inspiration for J.S. Bach's Goldberg Variations, wrote his own 24 polonaises for keyboard, one in each of the major and minor keys.[16] Other examples include works by John Wilson (1595–1674), Daniel Croner (1682), Christoph Graupner (1718), Johann Mattheson (1719), Friedrich Suppig (1722), and Johann David Heinichen (1683–1729).

After Bach

The following is an incomplete list of works of this type that have been written since the death of J.S. Bach.

Legend: AC = ascending chromatic; C5 = circle of fifths, major followed by relative minor; C5* = circle of fifths, major followed by parallel minor

18th and 19th centuries

1750–1850
Composer Work Instrument Date Order Comments
Adam Falckenhagen (d. 1761) Preludio nel quale sono contenuti tutti i tuoni musicali (Prelude which contains all the musical tones) lute ? [f] Random order
Tommaso Giordani 14 Preludes and 8 Cadenzas, Op. 33 harpsichord or pianoforte 1773 [g] [17] Originally published as "Preludes for the Harpsichord or Piano-Forte in All the Keys Flat and Sharp"
Étienne Ozi Nouvelle méthode de basson bassoon 1787 Also, for two bassoons; or bassoon and cello or double bass[18]
Ludwig van Beethoven 2 Preludes through all 12 Major Keys, Op. 39 piano 1789 [h] [19] Prelude No. 1 includes both C# and D♭.
[i] Prelude No. 2 excludes C#, but cycles through the other keys twice.
Pierre Gaviniès (d. 1800) 24 Matinées violin ? [j] [20] These include only 16 unique keys.
Johann Christian Kittel (d. 1809) 16 Preludes in all the keys organ ? These preludes span C to G, major and minor. Kittel evidently intended to write 24 preludes, in honour of his teacher J.S. Bach, but the work was left unfinished.[21]
Joseph Aloys Schmittbaur 24 Vor- und Nachspiele für die Orgel organ 1809 [k] [22] 15 Preludes and 9 Postludes, in ascending chromatic order covering 15 unique keys; the E♭ prelude is described in the score as D#.
Lev Gurilyov 24 Préludes et une Fugue piano pub. 1810 [l] First mentioned in a MA thesis by Matthew J. Roy, 2012.[23] Further comment on style and importance in an article by Wendelin Bitzan.[24]
Muzio Clementi Préludes et exercices dans tous les tons majeurs et mineurs, Op. 43 piano 1811 [m] These were appended to the 5th edition of Clementi's Introduction to the Art of Playing on the Piano Forte.[25] There is one prelude and exercise for each key, and the set concludes with a "Grande Exercice" that progressively modulates through all the keys but in a somewhat different order than the foregoing; further, the "Grande Exercice" uses G♭ major where the individual pieces use F# major.[26]
Philip Seydler (1765–1819) XXIV grands Caprices pour une Flûte flute 1810–12 C5[n] [27]
Johann Nepomuk Hummel 24 Preludes, Op. 67 piano 1815 C5[n] The first such collection for keyboard in which the preludes are neither paired with fugues nor serve as an introduction to a suite.[28] Some preludes are as short as five bars and unsuitable for concert performance.[29]
Pierre Rode 24 Caprices en forme d'études violin pub. 1815 C5[n] [30][31][32]
Friedrich Kalkbrenner 24 Etüden durch alle Tonarten, Op. 20 piano 1816 AC[o] [29]
Charles Chaulieu 24 petits préludes: dans les tons majeurs et mineurs, Op. 9 piano 1820 [p] [3][33]
Christian Heinrich Rinck 30 Préludes dans tous les tons majeurs et mineurs, Op. 55/37–66 organ before 1821 [q] The 30 Préludes for organ are part of Rinck's Practical Organ School, Op. 55, a collection of 117 pieces. They contain both members of all six enharmonically-equivalent key pairs, including the extremely rare keys of A# minor and C♭ major[8]
Christian Heinrich Rinck Exercices à deux parties dans tous les tons, Op. 67 piano 1821 [q]
Ignaz Moscheles Studien für das Pianoforte, zur höhern Vollendung bereits ausgebildeter Clavierspieler, bestehend aus 24 characteristischen Tonstücken, Op. 70 piano 1825–26 [r] [34] The A♭ minor étude is notated with a 4-flat key signature (ostensibly A♭ major) and uses accidentals to achieve the correct tonality.
Bartolomeo Campagnoli (d. 1827) 30 Preludes in 30 different keys violin ? [s] These cover all 30 keys that use up to 7 sharps or 7 flats[35]
Friedrich Kalkbrenner 24 Preludes, Op. 88 piano 1827 AC[o] [29]
Joseph Christoph Kessler 24 Études, Op. 20 piano 1827 [t] The 24 Études were dedicated to Hummel.
Carl Czerny 48 Etudes in the Form of Preludes, Op.161 piano 1829 [u] In 2 books of 24 each; the first piece in Book 2 is written in C major in the RH and B major in the LH
Joseph Christoph Kessler 24 Preludes, Op. 31 piano c. 1829 [v][36] The 24 Preludes were published in 1835[37] and dedicated to Chopin, who a decade later, dedicated the German edition of his 24 Preludes, Op. 28 to Kessler.
Henri Herz Exercices et préludes, Op. 21 piano c. 1830 [w] [38] Dedicated to Hummel
Ignaz Moscheles 50 Preludes, Op. 73 piano c. 1830 [x] This set includes only one enharmonic pair: G♭/F# major. The keys of C# major, A# minor, D# minor, A♭ minor and C♭ major are not represented.[39]
Johann Nepomuk Hummel 24 Études, Op. 125 piano c. 1834 C5* [y] [40]
Johann Heinrich Luft (1813–68)[41] 24 Etudes oboe or saxophone 1835 [z] [42]
Carl Czerny Grand Exercise in All the Keys, major & minor, Op. 152 piano ? [u]
Carl Czerny 24 Grandes études caractéristiques, Op.692 piano 1836 [aa] [43] These include only 15 unique keys
Carl Czerny Grand Exercise in 3rds in all the 24 Keys, Op. 380 piano 1836 [u]
Ernest Krähmer (d. 1837) 24 Solo Pieces in all major and minor keys oboe, recorder, or other treble instruments ? [44]
Carl Czerny The School of Fugue Playing, Op. 400 piano 1837 [ab] [45] 12 Fugues in different selected major and minor keys, in random order. Not included are C#/c#, E♭, F, F#/f#, A♭/a♭, A/a or B.
Louise Farrenc 30 Études dans tous les tons majeurs et mineurs, Op. 26 piano 1837–38 C5 [n] No. 18 starts in D♭ but changes to f#; No. 22 starts in f but changes to D♭; No. 24 changes from E♭ to e♭. This set, despite including 30 pieces, includes no enharmonic pairs at all. The versions of the six keys which have enharmonic pairs used are B major, G# minor, F# major, E♭ minor, D♭ major, and B♭ minor. The thirty pieces are filled out by duplicating six keys with fewer sharps or flats.[46]
Adolf von Henselt 12 Etudes caractéristiques, Op. 2 piano 1838 [ac] These two sets collectively cover all 24 major and minor keys
12 Etudes de salon, Op. 5 [ad]
Christian Heinrich Rinck 24 fugirte Orgelstücke, Op. 120 organ 1838 [ae] [47]
Frédéric Chopin 24 Preludes, Op. 28 piano 1835–39 C5[n] Dedicated to Camille Pleyel (French edition) and Kessler (German edition)
Johann Baptist Cramer Pensièri musicali: 24 preludes melodiques, ou, cadences, improvisations, et caprices, Op. 91 piano 1839 [af] Only 22 different keys are covered in the original 24 preludes; in a later edition a further 12 preludes were added, for a total of 36.[48]
Edouard Wolff 24 Études en forme de Préludes, Op. 20 piano 1839 [ag] [49][50]
Ferdinand David Bunte Reihe, Op. 30 violin and piano c. 1840 AC[o] Published in 1851.[51] The set was arranged by Franz Liszt for solo piano in 1850 (S. 484)[52]
Alessandro Rolla (d. 1841) 24 Intonazioni violin ? [ah] [53]
Johann Baptist Cramer 24 Préludes D'Utilité Générale et surtout à l'usage des Jeunes Eléves, Op. 96 piano 1841 [ai] [54] These include only 15 unique keys
Pierre Baillot 24 Préludes dans tous les tons violin 1842 [u]
Stefano Golinelli 24 Preludes, Op. 23 piano 1845 C5[n] [55]
Caspar Kummer 24 Études mélodiques, Op. 110 flute 1846 C5[n] [56] Étude No. 13 is shown in 2 versions, F# major and G♭ major; No. 14 as D# minor and E♭ minor
Charles-Valentin Alkan 25 Preludes in all major and minor keys, Op. 31 piano 1847 [aj] Major keys ascending chromatically from C alternate with minor keys ascending chromatically from f. There is a final 25th Prayer in C major.[57][58]
Peregrin Feigerl (1803–1877)[59] 24 Etudes or Caprices 2 violins 1847 C5[n] [60]
Charles-Valentin Alkan 12 Études in all the major keys, Op. 35 piano 1848 [ak] These were complemented by the 12 minor key études, Op. 39 (1857)
1851–1900
Composer Work Instrument Date Order Comments
Anton Bernhard Fürstenau (d. 1852) 26 Uebungen (Exercises), Op.107 flute ? [al] [61]
Franz Liszt 12 Transcendental Études, S. 139 piano 1826–52 [am] These covered the neutral and flat keys only. Liszt originally planned to write the full suite of 24 études but apparently abandoned this plan. See Sergei Lyapunov below.
Carl Czerny 160 Kurze Übungen, Op. 821 piano 1852 [an] [62]
Stefano Golinelli 24 Preludes, Op. 69 piano 1852 C5[n] [63]
Casimir Ney 24 Preludes, Op. 22 viola 1849-53 C5[n] [64]
William Sterndale Bennett 30 Preludes and Lessons, Op. 33 piano 1851–53 [q] Includes major and minor keys with 7 sharps or flats: C# major, A# minor, C♭ major, A♭ minor.
Stephen Heller 24 Preludes, Op. 81 piano 1853 C5[n] [65]
Carl Czerny Nouveau Gradus ad Parnassum, 46 studies, Op. 822 piano 1853–54 [ao] [66] These cover only 20 unique keys. Some studies consist of a prelude and fugue, usually in the same keys, except No. 4 (E and a), No. 14 (f and F), No. 17 (d and D), and No. 37 (B♭ and b♭). The final study is in the form of a theme and 34 variations.
Ferdinand Hiller 24 Esquisses et études rhythmiques, Op.56 piano 1854 [ap] [67]
August Alexander Klengel Les Avant-coureurs, 24 canons piano pub. posth. 1854 AC[o] This was either "patterned after Bach"[68] or "a kind of preparation" for Bach's 48.[69] After Klengel's death, Hauptmann edited and published Klengel's 48 Canons and Fugues, writing "he expressed his own thoughts in the way in which Bach would have done had he lived at the present day"[70]
William Vincent Wallace 24 Preludes and Scales piano 1855 C5* [y] [71]
Charles-Valentin Alkan 12 Études in all the minor keys, Op. 39 piano 1857 [aq] These complete the sequence that was started with the 12 Études in all the major keys, Op. 35. Études 4–7 comprise the Symphony for Solo Piano, and Études 8–10 make up the Concerto for Solo Piano.
Carl Czerny The Pianist in the Classical Style, 24 Preludes and Fugues, Op. 856 piano 1857 [u] [72]
Stanislas Verroust 24 Études mélodiques, Op. 65 oboe 1857 [ar] [73] Covers 17 unique keys
Giuseppe Concone (1801–61) 24 Preludes, Op. 37 piano ? [as] [74]
Heinrich Wilhelm Stolze (1801–1868) Die Wohltemperierte Orgel, 24 Preludes and Fugues, Op. 58 organ 1861 AC[o] The collection was published as part 4 of his organ method and is entitled The Well-Tempered Organ in reference to Bach.
Charles-Valentin Alkan Esquisses, Op. 63, Books I & II piano 1861 [at] [75] Covers all the major and minor keys twice, but in a different sequence, and ends with a final Laus Deo in C major.
Esquisses, Op. 63, Books III & IV [au]
Vladimir Morkov (1801–1864)[76] Preludes in all 24 Major and Minor Tones guitar ?? C5[n] [77]
Jean-Delphin Alard 24 Études-Caprices, Op. 41 violin 1865 C5[n] [78]
Adolf Jensen 25 Études, Op. 32 piano 1866 C5[n] + 1 This set employs the circle of fifths for the first 24 preludes, and concludes with an additional prelude in C major
Simon Sechter (d. 1867) 24 Preludes, Op. 26 piano ? [av] [79]
Charles-Valentin Alkan 11 Grands préludes et 1 transcription du Messie de Hændel, Op.66 piano 1867 [aw] [80] The set of 12 was not completed, an extraneous piece being inserted by the publishers, chosen for its key of e♭.
Paul Barbot (1828–1913)[81] L'art de préluder au piano: 72 préludes mélodiques dans tous les tons, Op. 94 piano 1868 C5[n] There are three preludes in each key, making 72 in all [82]
Ferdinand David Dur und Moll: 25 Etüden, Capricen und Charakterstücke in allen Tonarten, Op. 39 violin solo, or violin and piano ? AC[o] [83]
Désiré Magnus 24 Études de genre, Opp.161–162 piano 1874 [p] [84]
Carl Reinecke 24 Études, Op. 121 piano 1874 [ax] [85] These include only 17 unique keys.
Désiré Magnus 24 Études mélodiques et de vélocité, Opp. 189–190 piano 1876 [p] [86]
Ferruccio Busoni 24 Preludes, Op. 37, BV. 181 piano May 1881 C5[n] Busoni had just turned 15 when he wrote this work. It has been recorded by Daniele Petralia,[87] Geoffrey Douglas Madge,[88] Holger Groschopp[89] and Trevor Barnard.[90][91][92]
Adolf von Henselt Préambules dans tous les tons piano 1884 [ay] [93]
Joachim Andersen 24 Etudes for flute, Op. 15 flute 1885 C5[n] [94] No. 14 changes from d# to e♭.
Sebastian Lee 30 Präludien in allen Tonarten, Op. 122 cello 1885 [al] There are 2 preludes for each key, except G and E♭ (3 each) and C (4), for a total of 30 preludes. Each of the 26 different keys is preceded by a scale.[95]
Joachim Andersen 24 Etudes for flute, Op. 21 flute 1886 C5[n] [96]
Richard Hofmann 32 Special-Etüden, Op. 52 piano 1886 [97]
Joachim Andersen 24 Etudes for Flute, Op. 30 flute 1888 C5[az] [98]
Joachim Andersen 24 Etudes for Flute, Op. 33 flute 1888 C5[az] [99]
César Franck L'Organiste, Vol. I, 63 pieces in 18 keys harmonium or organ 1890 (pub. posth. 1896) [ba] [100] 59 pieces were originally published, with a further 4 being added in a later edition. Those 4 had remained in manuscript due to Franck's death while working on the composition. (A second set of 30 early pieces, L'Organiste, Vol. II was published in 1900, but these were collected from various unrelated manuscripts and do not cover the range of keys.)
Ignatius de Orellana 24 Melodic Studies piano 1890 [bb] [101]
Felix Blumenfeld 24 Preludes, Op. 17 piano 1892 C5[n] Modelled on Chopin's Op. 28 set. Philip Thomson made the world premiere recording in 1999[102]
Emil Krause (1840–1916) 24 Praeludien und Cadenzen, Op. 71 piano 1892 C5[n] [103]
José Antonio Santesteban 24 Preludes, Op. 84 piano 1892 [u] [104]
Johan Adam Krygell Moll und Dur, 24 preludes and fugues organ 1893 [bc] [105] All minors then all majors; majors are in C5 order; minors are the respective parallel minor keys.
Anton Arensky 24 Morceaux caractéristiques, Op. 36 piano 1894 [bd] [106]
Alexander Scriabin 24 Preludes, Op. 11 piano 1893–95 C5[n] Scriabin chose G♭ over F#. He seems to have set out to write a further set of 24 preludes, and the 23 preludes of Opp. 13, 15, 16 and 17 (containing 6, 5, 5 and 7 preludes respectively) contain evidence of this, but he obviously moved away from his original idea as the key sequence breaks down.[107]
Joachim Andersen School of Virtuosity, 24 etudes, Op. 60 flute 1895 C5[n] [108]
Max Reger 111 Canons in all major and minor tonalities: Book I: Two-Part Canons (63) piano 1895 [be] [109] Book I: There are 2 successive canons for each key, except B and b (3 each), and f# (4). Also, e♭ appears in different places in the sequence, for a total of 4 canons.
111 Canons in all major and minor tonalities: Book II: Three-Part Canons (48) [bf] [109] Book II: There are 2 successive canons for each key, except b♭, e♭, a♭, D♭, F#, G♭, C# and C♭ (1 each); and c and D (3 each). Also the order of g# and b is reversed between Books I and II.
Nikolay Tereshchenko (fl. 1898–1902) 24 Preludes, Op. 26 piano c. 1898 C5[n] [110]
August Winding (d. 1899) Preludes in all the keys: A Cycle, Op. 26 piano ? [u] The work is in 25 parts: 24 preludes, ordered by ascending fourths (increasing flats, decreasing sharps), and a final Postludium in C major. It is dedicated to Isidor Seiss.
Richard Hofmann 50 leichte, melodische Studien in der ersten Lage u. in allen Tonarten, Op. 107 piano 1899 [bg] [97]
40 melodische Studien in allen Lagen u. Tonarten, Op. 108

20th century

1901–1950
Composer Work Instrument Date Order Comments
Alexander Dorn (1833–1901) 24 Studies in the Different Major and Minor Keys, Op.100 piano ?? C5[n] [111]
Josef Rheinberger (1839–1901) 20 sonatas organ 1868–1901 [bh] Opp. 27, 65, 88, 98, 111, 119, 127, 132, 142, 146, 148, 154, 161, 165, 168, 175, 181, 188, 193, 196; Rheinberger set out to write 24 organ sonatas, one in each key. He completed 20 of these before his death in 1901.[112]
César Cui 25 Preludes, Op. 64 piano 1903 [bi] [113] Cui's order of keys is unique in that each major key is followed by the minor of its mediant (e.g. C major to E minor). It includes a 25th prelude in C major.[114]
Émile Sauret 24 Etudes Caprices, Op. 64 violin 1903 [u] [115]
Sergei Lyapunov 12 Études d'exécution transcendante, Op. 11 piano 1897–1905 [bj] This set complements Franz Liszt's set of 12 Transcendental Études from 1826 to 1852 (which was written in neutral and flat keys only) by employing the remaining sharp keys. It is dedicated to Liszt's memory.[1]
Franz Xaver Neruda Praeludien und Fugen, Op.78 piano 1906 [bk] The set contains 12 pairs of preludes and fugues; 6 preludes in major keys are followed by fugues in their respective parallel minors, and vice-versa, making 24 keys in all[116]
Jean-Henri Ravina (d. 1906) 100 Préludes dans tous les tons majeurs et mineurs, Op. 110 piano ? [117]
Reinhold Glière 25 Preludes, Op. 30 piano 1907 [bl] [118]
Selim Palmgren 24 Preludes, Op. 17 piano 1907 [bm] [119]
Emil Sjögren Legends: Religious Moods (Swedish: Legender: religiösa stämningar) Op. 46 organ 1907 [p] Based on fragments of his improvisations in St. John's Church, Stockholm.
Theobald Boehm 24 Etudes, Op. 37 flute 1908 [t]
Richard Hofmann Elementar-Studien für Violine, op. 129 violin 1909 [bg] [97]
Ludvig Schytte Melodische Vortragsstudien in allen Tonarten, Op. 159 piano 1909 [bn] [120]
Hans Sitt Dur und Moll: 28 leichte melodische Etüden für Violine (erste Lage) zur Befestigung der Intonation in allen Tonarten, Op. 107 violin 1909 [121]
Sergei Rachmaninoff 24 Preludes, Opp. 3/2, 23, 32 piano 1892–1910 [bo] The Prelude in C# minor, Op. 3/2, was part of a collection of pieces, and there is no evidence Rachmaninoff had at that stage planned to write 24 preludes traversing all the keys. Between 1901 and 1903, he wrote 10 Preludes, Op. 23, and in 1910, he completed the 24 with his 13 Preludes, Op. 32.[122]
Semyon Barmotin 20 Preludes, Op, 12 piano 1910 [bp] Only 20 pieces were ever completed, covering 20 keys
Blas María de Colomer 24 Préludes mélodiques piano 1910 C5[n] [123]
Raoul Koczalski 24 Preludes, Op. 65 piano 1910 C5[n] [124]
Hans Huber 24 Preludes and Fugues, Op. 100 piano 4-hands [3] Many sources inexplicably say there were only 12 pieces in the set, while at the same time listing 24
Lambert Adriaan van Tetterode (1858–1931) 24 Preludes, Op. 32 piano 1913 C5[n] [125]
Louis Vierne Vingt-quatre Pièces en style libre, Op. 31 organ 1913 AC[o] [126]
Charles Koechlin 24 Esquisses, Op. 41 piano 1905–15 [bq] [127] These cover only 13 unique keys; Nos. 15 and 22 are in indeterminate keys.
Frederick Septimus Kelly 24 Monographs, Op. 11 piano 1914–16 [br] [128][129]
Erkki Melartin 24 Preludes, Op. 85 piano 1916 [bs] [130]
Georg Schumann Durch Dur und Moll, Op. 61 piano 1916 AC[o] [131]
Jan Skrzydlewski (1867–1943) 24 Preludes piano ? 1917 [bt] No. 16 is written without a key signature.[132]
Walter Niemann 24 Preludes, Op. 55 piano 1918 C5[n] [133]
Charles Villiers Stanford 24 Preludes, Set I, Op. 163 piano 1918 AC[o] Set I has been recorded by Peter Jacobs.[134][135]
24 Preludes, Set II, Op. 179 1920 Set II was completed in December 1920, not in 1921 as many sources report.[136]
Aurelio Giorni 24 Concert Études piano 1923 C5[n] [137] No. 22 in G minor is for right hand alone.
Paul Taffanel 24 Progressive Exercises flute 1923 [u] [138] Left unfinished by Taffanel; completed and revised by Philippe Gaubert
Robert Casadesus 24 Preludes piano 1924 [az] [139]
Alexander Wunderer 24 Etüden in allen Tonarten oboe pub. 1924 AC[o] [140] The 11th Etüde bears a striking similarity to the 11th variation of Nikolai Rimsky-Korsakov's Variations on a Theme of Glinka, for oboe and military band.[141]
Mieczyslaw Surzynski (1866–1924) 55 Easy Preludes, Op. 20 piano or organ ? [bu] A collection of 55 pieces in all keys, in groups of 2 or 3 in each key; they have titles such as Moderato, Sostenuto, Andante, Allegretto, Lento etc.
Gustav Hanns Strümpel (1855–1927) [citation needed] 24 Preludes, Op. 16 piano ? [142]
Samuel Maykapar Biriulki (Spillikins), 26 pieces, Op. 28 piano 1926 [bv] Cycle of 26 children pieces (with program titles) in all 24 major and minor keys (including two each in C major and A minor)
Louis Vierne Pièces de fantaisie, 4 books, Opp. 51, 53–55 organ 1926–27 [bw] Random order [126]
Abram Chasins 24 Preludes, 4 Books, Opp. 10–13 piano 1927 C5 [bx] C5 but pairs of keys alternate between major/minor and minor/major
Manuel Ponce 24 Preludes guitar c. 1929 [az] Twelve of these were published by Andrés Segovia in 1930, but the remainder had to wait for the guitarist Miguel Alcazar to reconstruct them from Ponce's manuscripts before being published in 1981.[143][144]
François Demierre (1893–1976) 24 Préludes dans tous les tons majeurs et mineurs[145] piano 1932 Swiss-French organist and teacher; his first wife was the sister of Ernest Ansermet.[146]
Alexander Goldenweiser Contrapuntal Sketches, Op. 12 piano 1932 AC[o] [147]
Dmitri Shostakovich 24 Preludes, Op. 34 piano 1932–33 C5[n] [148] See also 24 Preludes and Fugues, Op. 87 (1950–51).
Ivan Wyschnegradsky 24 Préludes dans tous les tons de l'échelle chromatique diatonisée à 13 sons Op. 22 2 pianos in quarter tones 1934 (revised 1960) Ed. Belaieff. In 13-tone diatonicised chromaticism[149]
Valery Zhelobinsky 24 Preludes, Op. 20 piano 1934 AC[o] Prelude No. 22, although it is effectively in B♭ minor, has a key signature with 6 flats, as if it were written in E♭ minor (like Prelude No. 8). Most C naturals in this prelude are arrived at via the use of accidentals, while C♭, which would have required accidentals had the true key signature with only 5 flats been used, requires no alteration.[150]
Vsevolod Zaderatsky 24 Preludes piano 1934 [151]
Boris Goltz 24 Preludes, Op. 2 piano 1934–35 C5[n][152] [153]
Charles Koechlin Fifteen Vocalises in all major keys, Op. 152 voice and piano Aug–Sep 1935 [154]
Fifteen Vocalises in all minor keys, Op. 154 Oct. 1935
Viktor Kosenko Twenty-four Pieces for Children, Op. 25 Piano 1936 C5[n] Erroneously published in 1938 as Op. 15, but later corrected by Musichna Ukraina.
Algernon Ashton (1859–1937) 24 string quartets string quartet ? The set was lost, possibly destroyed in WWII bombing.[155] Ashton also wrote 8 piano sonatas,[155] all in different keys,[156] and it may be that he planned to complete a cycle of 24 of them as well. One source says he wrote 24 Preludes and Fugues,[157] but this is not corroborated.
Vsevolod Zaderatsky 24 Preludes and Fugues piano 1937–38 [158]
Leonid Polovinkin (1894–1949) 24 Postludes piano 1938 [by] Increasing flats, decreasing sharps, a/C separated [159]
Božidar Širola 24 Two Part Inventions in all major and minor keys piano 1939 [160]
Roger Sacheverell Coke 24 Preludes, Op. 33 and Op. 34 piano 1938–41 C5[n] Two sets, Op. 33 containing eleven, and Op. 34 thirteen.[161][162]
David Diamond 52 Preludes and Fugues piano 1939–42 [3][157] The first recording that Leonard Bernstein ever made included one pair (the Prelude and Fugue No. 3 in C# major).[163]
Joseph Jongen Vingt-quatre petits préludes pour piano dans tous les tons, Op. 116[164] piano 1941 [165] At least some of them exist in a version for organ.[166]
Paul Hindemith Ludus Tonalis, 25 movements piano 1942 [bz] The work consists of a prelude, 11 interludes, and a postlude, each separated by a fugue. The keys are not differentiated into major and minor.[3]
Dmitry Kabalevsky 24 Preludes, Op. 38 piano 1943–44 C5[n]
Akio Yashiro (1929–76) 24 Preludes piano 1945 C5[n] [167]
Julius Weismann Der Fugenbaum (The Fugue Tree), 24 Preludes and Fugues in all the keys, Op. 150 piano 1946 AC[o] [157]
Matvei Gozenpud (1903–61) 24 Preludes, Op. 53 piano 1947 C5[n] [168]
Craig Sellar Lang A miniature 48; two books of short preludes & fugues in all keys, Op. 64 piano 1949 [3]
York Bowen 24 Preludes in all Major and Minor Keys, Op.102 piano 1938–50 AC[o] [169]
1951–2000
Composer Work Instrument Date Order Comments
Dmitri Shostakovich 24 Preludes and Fugues, Op. 87 piano 1950–51 C5[n] See also 24 Preludes, Op. 34 (1932–33). In both these cases, Shostakovich adhered to Chopin's order of keys, although he was greatly influenced by Bach's The Well-Tempered Clavier and even quoted parts of that work in Op. 87.
Richard Flury 24 Preludes piano 1952 First performance Eugen Huber, 15 March 1956 in Solothurn.[170]
Tatiana Nikolayeva 24 Concert Etudes, Op. 13 piano 1951-53 [ca] Nikolayeva was the dedicatee and first performer of Shostakovich's 24 Preludes and Fugues, Op. 87 of 1950-51
Marcel Dupré 24 Inventions, Op. 50 organ 1956 [cb] [171]
Edvard Baghdasaryan 24 Preludes piano 1951–58 C5[n] aka Eduard Bagdasarian, Baghdasarian;[172][173][174][175]
William Gillock 24 Lyric Preludes in Romantic Style piano 1958 Short pedagogical pieces [176]
Franciszek Zachara New Well-Tempered Clavicord for the Piano piano 1950s 24 sets of preludes and fugues in all major and minor keys, with an additional 25th prelude and fugue (on a theme from Ernő Dohnányi) added at the end.
Twenty-Four Etudes in All Keys
Twelve Master Etudes in Minor Keys, Op. 29
Twenty-Four Variations on the Theme "Happy Birthday" 2 pianos
Hans Gál 24 Preludes, Op. 83 piano 1959–60 [cc] Major/parallel minor pairs, random order. Written during a fortnight's hospital stay, as a birthday present to himself; FP October 1960, composer, Edinburgh Society of Musicians.[177]
Nikolai Rakov 24 children's pieces in all keys piano 1961
Mario Castelnuovo-Tedesco Les Guitares bien tempérées (The Well-Tempered Guitars), 24 préludes et fugues, Op. 199 2 guitars 1962 [cd] Described as "the longest and most important cycle of works for two guitars ever composed", the 200-page score was written between 8 March and 3 June 1962, in response to performances by the popular husband-wife duo Ida Presti and Alexandre Lagoya[178]
Gara Garayev 24 Preludes piano 1951–63 C5* [y] [179][180]
Gunnar de Frumerie Circulus Quintus Op. 62, 24 piano pieces piano 1965 [p] Some have names which suggest the character of the piece such as "Siciliano", "Tarantella", or "Gavotte". As in the case of Emil Sjögren's Legends for organ, the collection is divided in two volumes, where the first has the pieces ordered in a perfect half-circle of fifths from C major to G# minor, and the second volume is ordered in a half-circle of fifths backwards, i.e. starting with F major and ending with E♭ minor.
Isaak Berkovich 24 Preludes, Op, 46 piano 1965-68 C5[n] [181]
Aleksandr Kasyanov 24 Preludes piano 1968 C5[n] [182]
Richard Cumming (1928–2009)[183] 24 Preludes piano 1966–69 Commissioned by John Browning, who stipulated they should be "as hard as possible", gave the world premiere in 1969 and recorded them[184][185][186]
Rodion Shchedrin 24 Preludes and Fugues, in 2 volumes piano 1964–70 C5[n] Shchedrin premiered Vol. I in Moscow in 1965 and the complete cycle in 1971. Dedicated to the memory of his father.[187]
Viktor Poltoratsky 24 Preludes and Fugues piano 1967–71 C5[n] [188]
Sulkhan Tsintsadze 24 Preludes piano 1971 C5[n]
Eduard Abramian (1923–1986)[189] 24 Preludes piano 1952–72 [ce] d and e♭ occur twice each; D and a are not represented.[190][191][192][193][194][195][196]
Balys Dvarionas (d. 1972) 24 Preludes piano ? AC[o] [197]
Dmitri Shostakovich 15 string quartets string quartet 1938–74 [cf] Shostakovich planned to write 24 string quartets, one each in a different key, but completed only 15 before his death.[198]
Georgy Mushel (d. 1989) 24 Preludes and Fugues piano 1975 [t] [199]
Alan Bush 24 Preludes, Op. 84 piano 1977 Composer gave the first performance at the Wigmore Hall on 30 October 1977.[200]
Valentin Bibik 34 Preludes and Fugues in 3 Books piano 1973–78 [cg] Book I: 14 major and minor keys on the white notes; Book II: 10 sharp keys; Book III: 10 flat keys
Yevgeny Svetlanov 12 Preludes piano 1978 [ch] 12 selected major and minor keys, in random order [201]
Sembiin Gonchigsumlaa 24 Preludes piano 1978–79 C5[n] [202]
Yasushi Akutagawa 24 Preludes: The Piano Pieces for Children piano 1979 C5* [y] [203]
Hans Gál 24 Fugues, Op. 108 piano 1979–80 AC[o] Written as a 90th birthday present to himself.[204]
Hiroshi Hara (1933–2002) 24 Preludes & Fugues piano 1981 [3]
Jaan Rääts 24 Marginalia, Op. 68 2 pianos 1982 [205]
Alexander Iakovtchouk (b. 1952) 24 Preludes and Fugues piano 1983 [3] or Alexander Yakovchuk
John McLeod (b. 1934) Twelve Preludes[206] piano 1984 Cycle of Preludes related by key. Commissioned by Richard Orlando Thompson. Premiered 30 September 1984, Purcell Room, London
Anthony Burgess The Bad-Tempered Electronic Keyboard piano Nov–Dec 1985 24 preludes and fugues + a closing "Finale: Natale", written for the 300th anniversary of the birth of Johann Sebastian Bach[207] 12 major keys ascending chromatically are followed by the 12 minor keys in the same order.
Geoff Cummings-Knight (b. 1947)[208] 24 Preludes piano 1985 Published by Roberton Publications in 1987. Premiered at the British Music Information Centre, London, 29 October 1991.[209]
Dave Smith (b. 1949) First Piano Concert (24 sonatas in all the keys) piano 1985–86
Nikolai Kapustin 24 Preludes in Jazz Style, Op. 53 piano 1988 C5[n] [210]
Jaan Rääts 24 Estonian Preludes, Op. 80 piano 1988 [205]
Igor Rekhin (b. 1941)[211] 24 Preludes and Fugues guitar 1985–90 AC[o] [212][213][214]
David Cope The Well-Tempered Disklavier, 48 preludes and fugues piano 1991 [3]
Igor Rekhin (b. 1941) 24 Caprices[215][216] cello 1991 AC[o]
Sulkhan Tsintsadze (d. 1991) 24 Preludes cello & piano ?? C5[n]
Sergei Slonimsky 24 Preludes and Fugues piano 1994 AC[o] Inspired to create this cycle after listening to Glenn Gould's recording of The Well-Tempered Clavier on New Year's Eve, 1993. The cycle was dedicated to the memory of A. N. Dolzhansky. It follows Bach's key organization, ascending in chromatic order from C major to B minor.[187]
Trygve Madsen 24 Preludes and Fugues, Op. 101 piano 1995–96 [ci] [217][3]
Howard Blake Lifestyle, Op. 489: 24 pieces Piano 1996 [cj] Minor/parallel major pairs, descending sharps, ascending flats, descending sharps.[218]
Nikolai Kapustin 24 Preludes and Fugues, Op. 82 piano 1997 [ck] The major keys tour the circle of fifths in the flat direction (beginning with C major and ending with G major), while the minor keys tour in the same mode but begin at the other side of the circle (starting with G# minor and ending with E♭ minor). This has the effect of juxtaposing very unrelated keys, and spacing relative majors and minors as far apart from one another as possible.[219]
Ron Weidberg (b. 1953)[220] Voyage to the End of the Millennium: 24 Preludes and Fugues piano 1997–98 [221]
Lera Auerbach 24 Preludes, Op. 41 piano 1999 C5[n] [143][222][223] No. 13 in F# in the 24 Preludes for piano, Op. 41, is written in 5 sharps, with accidentals used to achieve the desired tonality.
24 Preludes, Op. 46 violin and piano
24 Preludes, Op. 47 cello and piano
Niels Viggo Bentzon (d. 2000) Det temperede klaver, 14 sets each containing 24 Preludes and Fugues piano ? Opp. 157, 379, 400, 409, 428, 470, 530, 532, 541, 542, 546, 554, 633, 638[2][3]
Dmitri Smirnov The Well-Tempered Piano piano 1968–2000 [cl] Major keys ascending chromatically from C alternate with minor keys descending chromatically from b.[224]
Henry Martin (b. 1950)[225] 24 Preludes and Fugues piano 1990–2000 AC[o] [3]
John Ramsden Williamson (1929–2015)[226] Palindromic Preludes (at least 8 sets of 12), New Preludes piano 1993–2000 These sets generally consist of 12 major or minor keys[227][228][229]
Alexander Mekaev (b. 1960) 24 Preludes, Op. 41 piano ?? C5[n] [230]
Mikhail Alekseyev (b. 1965) 26 Preludes piano 2000 [cm] D and B♭ appear twice each [231]
Roberto Novegno (b. 1981) Preludes I, tbp 43 piano 2000 C5[n] [232]
Preludes II, tbp 46 [u] [233]

21st century

Composer Work Instrument Date Order Comments
Roberto Novegno (b. 1981) Preludes III, tbp 53 piano 2000–01 [cn] [234]
Preludes IV, tbp 60 2001–02 [co] [235]
Daniel Padrón (b. 1966)[236] 24 Nocturnes piano c. 2002
Anthony Ritchie (b. 1960) 24 Preludes piano 2002 [cp] [237] Uses the mathematical concept of the magic square[238]
Roberto Novegno (b. 1981) Preludes V, tbp 62 piano 2002–03 [cq] [239]
Rob Peters (b. 1969) 24 Preludes, Op. 119 organ 2003 [cr] Increasing flats, decreasing sharps [240]
Roberto Novegno (b. 1981) Preludes VI, tbp 65 piano 2003–04 [cs] [241]
Wim Zwaag (b. 1960)[242] 24 Preludes piano 2004 Premiered in April 2007 by Paul Komen at the Bethaniënklooster, Amsterdam[243]
Edward Cowie 24 Preludes piano 2004–2005 C5* [y] Vol 1 – Book 1 (Water); Book 2 (Air); Vol 2 – Book 3 (Earth); Book 4 (Fire).[244][245] Cowie uses a♭ rather than g#.
Jeroen van Veen 24 Minimal Preludes, 2 Books piano 1999–2006 C5[n] Book I, 1999–2003; Book II, 2004–06 [246]
Daniel Léo Simpson 24 Inventions piano 1977–2008 [ct] [247]
Marc-André Hamelin Twelve Etudes in All the Minor Keys piano 1986–2008 [cu] Each etude has a title. They are laid out in four groups of three keys following the ascending circle of fifths separated by a minor third.
Roberto Novegno (b. 1981) Preludes VII, tbp 73 piano 2004–08 [cv] [248]
Mark Alburger Standards: 24 Preludes and Fugues, Op. 162 piano 2008 AC[o] [3]
Roberto Novegno (b. 1981) Preludes VIII, tbp 85 piano 2009 AC[o] [249]
Preludes IX, tbp 88 [cw] [250]
Preludes X, tbp 94 [cx] [251]
Preludes XI, tbp 98 2009–10 [cy] [252]
Francis Routh The Well-Tempered Pianist, Op. 77 piano 2009–2010 [cz] These 24 Preludes are based on a seven-note scale consisting of the six notes of the whole–tone scale with the addition of the perfect fourth [253] The sequence includes preludes in D#, G# and A#, which are normally considered theoretical keys as their key signatures include double sharps.
Michelle Gorrell[254] Well-Tempered Licks & Grooves: 24 Preludes & Fugues in Jazz Styles piano 2010 [3]
Leslie Howard 24 Classical Preludes for Piano, Op. 25 piano ? Each prelude is written in the style of a different composer
Roberto Novegno (b. 1981) Preludes XII, tbp 102 piano 2010 [da] [255]
Preludes XIII, tbp 130 2011 [db] [256]
Rob Peters (b. 1969) 24 Preludes a danser, Op. 211 piano 2011 [dc] Major keys ascending chromatically from C alternate with minor keys ascending chromatically from f.[257]
George N. Gianopoulos 24 Chorale Preludes, Op. 6 piano 2006–12 AC[o] [258]
Geert Van Hoorick (b. 1968)[259] 24 Preludes, Op. 39 piano 2010–12 C5[n] [260]
Shuwen Zhang (b. 1991)[261] The 24 Chinese Solar Terms piano or harpsichord 2011–2012 AC[o]
Lawrence Chandler The Tuning of the World string quartet 2012
Steven O'Brien 24 Preludes, Op. 2 piano 2012 C5[n] [262]
Colin Peter Snuggs (b. 1977) 24 Preludes, Op. 2 piano 2012–13 [dd] [263] Covers 16 unique keys. He has also written at least 18 études in different keys.
Aaron Andrew Hunt (b. 1972)[264] 24 Preludes and Fugues, Set I piano 2003–14 AC[o] [265]
Michael Brough (b. 1960) 25 Picture-Preludes for Piano, Op. 19 piano 2013–14 [de] [266] Major/relative minor pairs, order variable, random sequence; No. 13 is specified as "no key"; 24 in b♭ is for left hand.
John Burge 24 Preludes piano 2011–15 C5[n] [267]
Roberto Novegno (b. 1981) Preludes XIV, tbp 140 piano 2012–15 [df] [268]
Ilia Lushpa (b, 1991) 24 Preludes piano 2015 [dg] [269]
Jason L. Pachman (b. 1971) 24 Preludes piano 2015–17 C5[n] [270]
Felipe Brandes (b. 2000)[271] 24 Preludes, Op. 34 piano 2017 C5[n] [272]
Mark Phillips 24 Preludes for Piano in All Major and Minor Keys: In the Style of Bach's "Prelude in C Major" from The Well-Tempered Clavier piano 2017 [273]
Stéphane Delplace Préludes et Fugues dans les Trente Tonalités, 3 Books piano 1994–2018 [dh] (Book I) Major/relative minor pairs, ascending in steps of 1 or 4 semitones (14141411414141)
Christopher Brown 24 Preludes and Fugues, Op. 98 piano 2011-19, pub. 2020 Four books (each of 6 Preludes and Fugues) based around one of the notes of the name B A C H (B♭, A C and B natural in German), and starting and ending in the major or minor tonality of the 4 keys.[274][275][276]
Michel Rondeau[277] 24 Fughettas 2 flugelhorns & bass trombone 2019 [di] [278]
Howard Skempton 24 Preludes and Fugues piano 2019 [dj] Preludes are all canons. In the first 12, each major key is followed by the minor key of the next note (C, c#, D, e♭ ...). For the remainder, minor keys are followed by the major key of the next note (c, C#, d, E♭ ...)[279]
Agnes W. Ascher (b. 1980) Escapes/Fugitives from Everyday-life: 24 Well-tempered Counterpoint, Taken from Life, Composed and Made for Special Diversion, Op. 2 piano(s) 2019–20 AC[o] Fugues and fugal movements over everyday life melodies (from ringtones and children's songs to popular, film, tv and classical music; simple, double, triple and quadrupel fugues; multithematic fantasies)[280]
Aaron Andrew Hunt (b. 1972) 24 Preludes and Fugues, Set II piano 2019–20 AC[o] [281]
Keith Eisenbrey (b. 1959) 24 Preludes piano 2011–21 C5[n] [282]
Albert Guinovart 24 Preludes piano 2021 [dk] Descending chromatic pairs of unrelated major and minor keys starting at B/f
Kirill Monorosi 24 Etudes, Op. 1 piano 2021 AC[o] [283][284]
Andrzej Chmielewski (b. 1990)[285] 24 Preludes piano 2009–22 C5[n] [286]
Daniel Léo Simpson 24 Preludes and Fugues piano 2017–22 [dl] [287] As of 2022, only 13 of the 24 pieces had been published
Hayden Roberts (b. 2004)[288] Anthony's Book: 24 Preludes and 24 Scherzos piano 2019–22 AC[o] [289]
Howard Skempton 50 Preludes for Organ, books 1 and 2 piano 2022–23 AC[o] [290][291]
Dennis Alexander (b. 1947) 24 Character Preludes piano ?? [292]
Ken Hatfield Etudes in 24 Keys guitar ?? [293]
Victor Labenske Piano Miniatures: 24 Short Solos piano ?? [294]

Notes

  1. ^ C, G, D, A, E, B, F#, C#, D♭, A♭, E♭, B♭, F
  2. ^ In extremely rare cases, theoretical keys do appear with their double-accidental key signatures in real music: an example is John Foulds' A World Requiem, which ends in G-sharp major with Fdouble sharp in the key signature.[7]
  3. ^ G♭ major and F# major, E♭ minor and D# minor
  4. ^ C♭ major and B major, A♭ minor and G# minor
  5. ^ D♭ major and C# major, B♭ minor and A# minor
  6. ^ c, g, B♭, b♭, d#, D#, f, F, d, a, A, f#, F#, C#, G#, c#, g#, B, b, E, e, D, G
  7. ^ C, c, D, d, E♭, E, e, F, f, G, g, A, a, B♭
  8. ^ C, G, D, A, E, B, F#, C#, D♭, A♭, E♭, B♭, F
  9. ^ C, G, D, A, E, B, F#, D♭, A♭, E♭, B♭, F
  10. ^ E♭, c, C, G, D, d, B♭, g, b♭, f, A, e, a, E, b, f#
  11. ^ C, c, D, d, E♭, E, e, F, f, G, g, A, a, B♭, b
  12. ^ Arranged in a circle of fifths except with major keys preceding the minor keys: C, G, D, A etc.; a, e, b ... d.
  13. ^ Préludes et exercices: C, a, F, d, G, e, B♭, g, D, b, E♭, c, A, f#, A♭, f, E, c#, D♭, b♭, B, g#, F#, e♭; Grande Exercice: C, a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, G♭, e♭, B, g#, E, c#, A, f#, D, b, G, e
  14. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al am an ao ap aq ar as at au av aw ax ay az ba bb bc bd be Arranged in a circle of fifths, as alternating major and relative minor keys: C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, e♭, D♭, b♭, A♭, f, E♭, c, B♭, g, F, d. Alexander Scriabin, Rodion Shchedrin and others chose G♭ over F#.
  15. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad Ascending chromatic: C, c, C#/D♭, c#, D, d, E♭, d#/e♭, E, e, F, f, F#/G♭, f#, G, g, A♭, g#/a♭, A, a, B♭, a#/b♭, B, b
  16. ^ a b c d e C, a, G, e, D, b, A, f#, E, c#, B, g#, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, G♭, e♭
  17. ^ a b c C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, d#, C#, a#, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, G♭, e♭, C♭, a♭
  18. ^ C, e, G, E, a, d, B♭, e♭, A♭, b, E♭, b♭, D, g, a♭, B, f#, F#, A, c#, D♭, F, c, f
  19. ^ C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, d#, C#, a#, C♭, a♭, G♭, e♭, D♭, b♭, A♭, f, E♭, c, B♭, g, F, d
  20. ^ a b c C, a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, F#, e♭, B, a♭, E, c#, A, f#, D, b, G, e
  21. ^ a b c d e f g h i j C, a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, G♭, e♭, B, g#, E, c#, A, f#, D, b, G, e
  22. ^ F#, e, B♭, C, E♭, A♭, D♭, c, D, F, A [sic], d, f, A [sic], f#, G, b, g, E, c#, e♭, B, b♭, g#
  23. ^ C, a, G, c, E♭, g, D, b, E, e, A, f#, B, e♭, D♭, b♭, B♭, d, F, f, A♭, c#, F#, g#
  24. ^ C, A♭, g, D, A, a, F#, E, e♭, E♭, F, f, d, e, c, b, B♭, b♭, D♭, g#, G, B, f#, G♭, c#
  25. ^ a b c d e C, c, G, g, D, d, A, a, E, e, B, b, F#, f#, D♭, c#, A♭, g#, E♭, e♭, B♭, b♭, F, f
  26. ^ C, a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, G, e, D, b, A, f#, E, c#, B, g#, C#, a#
  27. ^ C, E, a, A♭, f, D♭, F, B♭, A, D, c, E♭, B, G♭, e
  28. ^ c, E, B♭, b♭, D, C, g, e♭, f, e, F, b
  29. ^ d, D♭, b, B♭, c#, F#, D, e♭, F, e, E♭, b♭
  30. ^ c, G, a, E, f#, A♭, C, g, A, f, B, g#
  31. ^ C, G, D, A, E, B, a, e, b, f#, c#, g#, F, B♭, E♭, A♭, D♭, G♭, d, g, c, f, b♭, e♭
  32. ^ B♭, F, C, G, D, g, E♭, f, A♭, E, e, d, A, a, b, c, f#, F#, c#, B, b♭, D♭
  33. ^ C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, e♭, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭
  34. ^ C, F, B♭, E♭, A♭, D♭, D, G, A, E, B, F#, c, f, b♭, e♭, a♭, c#, d, g, a, e, b, f#
  35. ^ C, G, B♭, D, F, E♭, E, e, A, a, d, A♭, g, c, B
  36. ^ C, f, D♭, f#, D, g, E♭, a♭, E, a, F, b♭, G♭, b, G, c, A♭, c#, A, d, B♭, e♭, B, e, C
  37. ^ A, D, G, C, F, B♭, E♭, A♭, C#, G♭, B, E
  38. ^ a b C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, d#, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, G♭, e♭
  39. ^ C, a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭
  40. ^ C, F, B♭, G, D, E♭, A♭, E, A, B, F#, G♭, D♭, C#, a, d, g, c, f, b♭, e♭, g#, a♭, c#, f#, b, e, d#
  41. ^ G♭, E♭, e, a, E, C, g, A, G, A♭, f, F, D, d, D♭, B♭, c, b♭, f#, b
  42. ^ C, e, F, f, c, E♭, D♭, c#, f#, D, A, a, B♭, d, g, G, a♭, F#, e♭, D, A♭, b♭, b, B
  43. ^ a, d, g, c, f, b♭, e♭, g#, c#, f#, b, e
  44. ^ C, c, G, g, D, d, A, a, E, e, B, b, F, B♭, E♭, A♭, f
  45. ^ C, a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, G♭, e♭, B, a♭ (the prelude is headed "A♭ minor or G# minor"), E, c#, A, f#, D, b, G, e
  46. ^ C, f, D, g, E, a, F#, b, A♭, c#, B♭, e♭, c, F, d, G, e, A, f#, B, g#, D♭, b♭, E♭
  47. ^ C, G, D, a, E, b, F#, c#, A♭, e♭, B♭, f, c, g, d, A, e, B, f#, C#, g#, E♭, b♭, F
  48. ^ C, a, G, e, D, b, A, f#, F, d, B♭, g, E♭, c, E, c#, A♭, f, B, g#, D♭, b♭, F#, e♭
  49. ^ F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, F#, e♭
  50. ^ C, E♭, F, D♭, c, d, G, B♭, B, f#, D, g, a, A♭, G♭, b, E
  51. ^ C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, d#, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭
  52. ^ a b c d C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, d#, D♭, b♭, A♭, f, E♭, c, B♭, g, F, d
  53. ^ In 9 sections, of 7 pieces each: C and c; D♭ and c#; D and d; E♭ and e♭; E and e; F and f; f# and G♭; G and g; A♭ and g#
  54. ^ e, G, b, A, a, F, B♭, f#, c, A♭, B, c#, g, E, e♭, D, E♭, f, D♭, F#, d, b♭, C, g#
  55. ^ c, g, d, a, e, b, f#, c#, g#, e♭, b♭, f, C, G, D, A, E, B, G♭, D♭, A♭, E♭, B♭, F
  56. ^ C, c, D♭, c# leading to D♭, D, d, E♭, e♭, E, e, F, f, F#, f#, G, g, A♭, g#, A, a, B♭, b♭, B, b
  57. ^ C, c, G, g, F, f, D, d, B♭, b♭, A, a, E♭, e♭, E, e, A♭, a♭, B, g#, b, D♭, F#, f#, G♭, C#, c#
  58. ^ C, c, G, g, F, f, D, d, B♭, b♭, A, a, E♭, e♭, E, e, A♭, a♭, B, b, g#, D♭, F#, f#, G♭, C#, c#
  59. ^ a b C, a, G, e, F, d, D, b, B♭, g, A, f#, E♭, c, E, c#, A♭, f, B, g#, D♭, b♭, F#, d#, G♭, e♭
  60. ^ c, A♭, G, a, F#, e♭, f, e, b♭, b, d, D♭, E♭, C, D, g#, B, A, g, F
  61. ^ C, e, G, b, D, f#, A, c#, E, g#, B, e♭, F#, b♭, D♭, f, A♭, c, E♭, g, B♭, d, F, a, C
  62. ^ F#, d#, B, g#, E, c#, A, f#, D, b, G, e
  63. ^ a, A; C, c; f, F; B, b; D, d; e, E; G, g; e♭, E♭; b♭, B♭; A♭, g#; D♭, c#; F#, f#
  64. ^ C, c, D♭, c#, D, d, E♭, e♭, E, e, F, f, F#, f#, G, g, A♭, g#, A, a, B♭, b♭, B, b, C; Alexander Wunderer and York Bowen chose G♭ over F#.
  65. ^ e, A, E, c#, G, g, D, b, g#, A♭, C, a, B, d, B♭, F, f, f#, F#, e♭, c, E♭, b♭, D♭
  66. ^ C, c, G, g, F, f, D, d, B♭, b♭, A, a, E♭, e♭, E, e, A♭, g#, B, b, D♭, c#, G♭, f#
  67. ^ c#, f#, B♭, d, D, g, E♭, c, A♭, e♭, G♭, C, b♭, E, e, G, f, F, a, A, b, B, g#, D♭
  68. ^ b♭, G♭, g#, E, c#, f#, D, G, g, d, B♭, f, D♭, A, b, e, A♭, C, c, E♭
  69. ^ E, E♭, C, G, f, a, A, F, B♭, D, f#, A♭, e
  70. ^ C, e, B, g#, E, a, A, c#, A♭, f, D♭, f#, G♭, b♭, F, d, B♭, e♭, E♭, g, D, b, G, c
  71. ^ C, c, E♭, e♭, F#, f#, A, a, F, f, A♭, g#, B, b, D, d, G, g, B♭, b♭, D♭, c#, E, e
  72. ^ C, A, c#, e, G♭, g, E, f#, b, A♭, G, c, E♭, d, B, b♭, D♭, D, f, F, g#, B♭, a, e♭
  73. ^ C, a, G, e, D, b, A, f#, E, c#, B, g#, F#, d#, G♭, e♭, D♭, b♭, A♭, f, E♭, c, B♭, g, F, d
  74. ^ C, a, G, e, D, b, A, f#, F, d, B♭, g, E♭, c, E, c#, A♭, f, B, g#, D♭, b♭, F#, e♭
  75. ^ C, a, d, F, g, B♭, c, e, G, b, D♭, b♭, A♭, f, g#, c#, e♭, D, E♭, F#, A, B, f#, E
  76. ^ C, a, e, G, D, b, f#, A, E, c#, g#, B, G♭, e♭, b♭, D♭, A♭, f, c, E♭, B♭, g, d, F
  77. ^ a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, F#, e♭, B, g#, E, c#, A, f#, b, D, G, e, C
  78. ^ C, G, F, A, E, E♭, A♭, D, B♭, D♭, B, F#
  79. ^ C, e, D, D♭, b♭, F, b, F#, E♭, e♭, A, g, G, d, f#, E, f, c#, B, a, B♭, g#, A♭, c
  80. ^ C, a, G, e, F, d, D, b, B♭, g, A, f#, E♭, c, E, c#, A♭, f, B, g#, D♭, b♭, G♭, e♭
  81. ^ B, b, E♭, e♭, G, g, C, c, E, e, A♭, a♭, D♭, c#, F, f, A, a, D, d, F#, f#, B♭, b♭
  82. ^ g, D, a, E, b, F#, c#, A♭, e♭, B♭, f, C, G, d, A, e, B, f#, C#, g#, E♭, b♭, F, c
  83. ^ E♭, C, e, e♭, d, c#, D♭, B♭, F#, E, f#, f, A, b♭, F, B, g, g#, A♭, c, G, b
  84. ^ C, A, F, D, B♭, G, f#, c, E♭, A♭, f, D♭, b♭, F#, e♭
  85. ^ C, c, D, d, E, e, F, f, G, g, A, a, B, b, C#, c#, D#, d#, F#, f#, G#, g#, A#, a#, D♭, E♭, e♭, G♭, A♭, a♭, B♭, b♭
  86. ^ C, a, G, b, D, G♭, b♭, A, g#, g, c, F
  87. ^ C, a, F#, e♭, A, f#, E♭, c, F, d, B, g#, D, b, A♭, f, G, e, D♭, b♭, E, c#, B♭, g♭
  88. ^ The keys are arranged in a sequence of falling fifths, starting with B minor and ending in F# major
  89. ^ C, g#, F, c#, B♭, f#, E♭, b, A♭, e, D♭, a, G♭, d, B, g, E, c, A, f, D, b♭, G, e♭
  90. ^ C, b, D♭, b♭, D, a, E♭, g#, E, g, F, f#, F#, f, G, e, A♭, e♭, A, d, B♭, c#, B, c
  91. ^ C, a, D, G, e, B♭, D♭, b♭, d#, B, B♭, D, b, A♭, c#, g#, f, A, f#, E, F#, c, E♭, g, F, d
  92. ^ C, e, G, b, D, f#, A, c#, E, g#, B, e♭, G♭, b♭, D♭, f, A♭, c, E♭, g, B♭, d, a, F
  93. ^ C, f, D, g, E, a, F, b♭, G, c, A, d, B, e, B♭, e♭, A♭, c#, G♭, b, E♭, g#, D♭, f#
  94. ^ C, c#, F, f#, B♭, b, E♭, e, A♭, a, D♭, d, G♭, g, C♭, c, E, f, A, b♭, D, e♭, G, a♭
  95. ^ C, e, F, a, B♭, d, E♭, g, A♭, c, D♭, f, G♭, b♭, B, e♭, E, g#, A, c#, D, f#, G, b
  96. ^ C, a, F, d, B♭, g, E♭, c, A♭, f, D♭, b♭, F#, e♭, B, g#, E, c#, A, f#, D, b, G, e
  97. ^ C, c, B, b, B♭, b♭, A, a, A♭, g#, G, g, G♭, f#, F, f, E, e, E♭, e♭, D, d, D♭, c#
  98. ^ C, F, d, A, f, B♭, B, G, E, b, E♭, c, D, a, b♭, g, e, f#, e♭, A♭, D♭, c#, G♭, a♭
  99. ^ a, e, b, c, g, d, e♭, b♭, f, f#, c#, a♭
  100. ^ C, a, E♭, c, G♭, e♭, A, f#, D♭, b♭, E, c#, G, e, B♭, g, D, b, F, d, A♭, f, B, g#
  101. ^ C, a, B, a♭, B♭, g, A, f#, A♭, f, G, e, G♭, e♭, F, d, E, c#, E♭, c, D, b, D♭, b♭
  102. ^ E♭, G, g, b♭, c#, A, b, C, E, F, A♭, e, G♭, e♭, g#, D♭, f, a, d, D, c, B♭, B, f#
  103. ^ c#, A, d, B♭, e♭, B, e, C, f, D♭, f#, D, g, E♭, g#, E, a, F, b♭, G♭, b, G, c, A♭
  104. ^ C, c, C#, c#, D, d, D#, d#, E, e, F, f, F#, f#, G, g, G#, g#, A, a, A#, a#, B, b
  105. ^ C, f, D♭, f#, D, g, E♭, g#, E, a, F, b♭, G♭, b, G, c, A♭, c#, A, d, B♭, e♭, C♭, e
  106. ^ C, g#, B, g, B♭, f#, A, f, A♭, e, G, e♭, G♭, d, F, c#, E, c, E♭, b, D, b♭, D♭, a
  107. ^ C, f, D♭, f#, D, g, E♭, a♭, E, a, F, b♭, G♭, b, G, c, A♭, c#, A, d, B♭, e♭, B, e
  108. ^ C, c, D, d, e♭, E♭, f, F, g, A♭, b♭, b, a, E, B, f#
  109. ^ b, D, F, d, f, A♭, g, B♭, g#, B, c, E♭, F#, e♭, G, e, A, f#, C, a, E, c#, b♭, D♭
  110. ^ C, b, D, A, g, B, g#, e♭, F#, f, e, c, D♭, F, d, c#, A, a, B♭, E♭, G, f#, E, b♭
  111. ^ C, F, a, B, e♭, G, g#, g, c, D♭, f, G♭, f#, D, A, e, E, b, b♭, A♭, c#, E♭, B♭, d
  112. ^ A♭, f, A, f#, D♭, b♭, D, b, G♭, e♭, G, e, C♭, a♭, C, a, C#, a#, F, d, F#, d#, B♭, g, B, g#, E♭, c, E, c#
  113. ^ C, a, F, d, G, e, B♭, g, D, b, E♭, c, A, f#, A♭, f, E, c#, D♭, b♭, B, g#, G♭, e♭
  114. ^ C, c#, D, e♭, E, f, G♭, g, A♭, a, B♭, b, c, C#, d, E♭, e, F, f#, G, g#, A, b♭, B
  115. ^ B, f, B♭, e, A, e♭, A♭, d, G, c#, F#, c, b, F, b♭, E, a, E♭, g#, D, g, D♭, f#, C
  116. ^ C, a, G, e, F, d, D, b, B♭, g, A, f#, E♭

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