# List of compositions in just intonation

This is a list of a selection of musical compositions in just intonation composed since 1900.
| Composition | Instrumentation | Year | Composer | Prime limit | Comments |
| Seventeen Lyrics by Li Po | Voice, Adapted Viola | 1930–33 | Harry Partch | 11 | Text by Li Po |
| Two Psalms | Voice, Adapted Viola, Chromelodeon I, Kithara I | 1931–32, 1941, 1943 | Harry Partch | 11 | Text from Psalm 23 and Psalm 137 |
| The Potion Scene | Voice, 2 high female voices, Adapted Viola, Chromelodeon I, Kithara II, Bass Marimba, Marimba Eroica | 1931, 1955 | Harry Partch | 11 | Text by Shakespeare |
| The Wayward | Voices, Ensemble of Partch Instruments | 1941–43, 1955, 1958, 1968 | Harry Partch | 11 | Texts by or collected by Harry Partch |
| Dark Brother | Voice, Chromelodeon I, Adapted Viola, Kithara I, Bass Marimba | 1942–43 | Harry Partch | 11 | Text by Thomas Wolfe |
| Yankee Doodle Fantasy | Soprano, Tin Flutes, Tin Oboe, Flex-A-Tones, Chromelodeon I | 1944 | Harry Partch | 11 | Text largely collected by Oscar Sonneck |
| Two Settings from Joyce's Finnegan's Wake | Soprano, Kithara I, 2 flutes | 1944 | Harry Partch | 11 | Text by James Joyce |
| Two Studies on Ancient Greek Scales | Harmonic Canon II, Bass Marimba | 1946 | Harry Partch | 11 | Later incorporated into Eleven Intrusions |
| Eleven Intrusions | Ensemble of Partch instruments | 1949–50 | Harry Partch | 11 | Texts by Ella Young, Lao-Tse, Willard Motley, George Leite and Giuseppe Ungaretti |
| Plectra and Percussion Dances | Voices, Ensemble of Partch instruments | 1949–52 | Harry Partch | 11 | Texts by Harry Partch and Arthur Rimbaud |
| Oedipus – A Music-Dance-Drama | Voices, Ensemble of Partch instruments | 1951, 1952–54, 1967 | Harry Partch | 11 | Text by Harry Partch based on the play by Sophocles |
| Two Settings from Lewis Carroll | Voice, Ensemble of Partch instruments | 1954 | Harry Partch | 11 | Text by Lewis Carroll |
| Ulysses at the Edge | Voice, Ensemble of Partch instruments | 1955 | Harry Partch | 11 | Text by Harry Partch |
| The Bewitched – A Dance Satire | Soprano, Ensemble of Partch instruments | 1955 | Harry Partch | 11 | |
| Windsong | Ensemble of Partch Instruments | 1958 | Harry Partch | 11 | |
| Revelation in the Courthouse Park—After The Bacchae of Euripides | Voices, Partch instruments | 1960 | Harry Partch | 11 | Text by Harry Partch based on the play by Euripides |
| Rotate the Body in All Its Planes | Ensemble of Partch instruments | 1961 | Harry Partch | 11 | Text by Harry Partch |
| Bless this Home | Voice, oboe, Adapted Viola, Kithara I, Harmonic Canon II, Mazda Marimba | 1961 | Harry Partch | 11 | Text by Vincenzo Prockelo |
| And on the Seventh Day Petals Fell in Petaluma | Ensemble of Partch instruments | 1963–66 | Harry Partch | 11 | |
| Sonata for Microtonal Piano | Retuned piano | 1964 | Ben Johnston | 5 | |
| String Quartet No. 2 | String quartet | 1964 | Ben Johnston | | |
| The Well-Tuned Piano | Retuned piano | 1964–now | La Monte Young | 7 | |
| Delusion of the Fury – A Ritual of Dream and Delusion | Ensemble of Partch instruments | 1965 | Harry Partch | 11 | |
| String Quartet No. 3 | String quartet | 1966/1973 | Ben Johnston | | |
| Daphne of the Dunes | Ensemble of Partch instruments | 1967 | Harry Partch | 11 | A rewriting of the earlier Windsong |
| Stimmung | 6 singers | 1968 | Karlheinz Stockhausen | 7 | |
| The Dreamer That Remains – A Study in Loving | Ensemble of Partch instruments | 1972 | Harry Partch | 11 | Text by Harry Partch |
| String Quartet No. 4 | String quartet | 1973 | Ben Johnston | 7 | |
| Spectral CANON for CONLON Nancarrow | Retuned player-piano | 1974 | James Tenney | | |
| Les espaces acoustiques | Viola/ensemble/large orchestra | 1974–85 | Gérard Grisey | | |
| Harmonium #1 | Open instrumentation | 1976 | James Tenney | | |
| Harmonium #2 | 2 guitars | 1977 | James Tenney | | |
| Harmonium #3 | 3 harps | 1978–80 | James Tenney | | |
| Harmonium #4 | Ensemble and tape-delay system | 1978 | James Tenney | | |
| Harmonium #5 | Violin, viola, cello | 1978 | James Tenney | | |
| Suite for Microtonal Piano | Retuned piano | 1978 | Ben Johnston | 19 | |
| String Quartet No. 5 | String quartet | 1979 | Ben Johnston | 13 | |
| String Quartet No. 6 | String quartet | 1980 | Ben Johnston | | |
| Harmonium #6 | Flute, oboe, clarinet, bass clarinet, trumpet, trombone, sting quartet | 1981 | James Tenney | | |
| Das Andere | Viola | 1983 | Horatiu Radulescu | | |
| String Quartet No. 7 | String quartet | 1984 | Ben Johnston | | |
| String Quartet No. 8 | String quartet | 1984 | Ben Johnston | | |
| KOAN for String Quartet | String quartet | 1984 | James Tenney | 83 | |
| Embryo Without Tears | Original microtonal Instruments | 1984 | Kraig Grady | 11 | Live music composition and film L.A. Phil's American music weekend |
| Just Imaginings | Synthesizer | 1986 | Wendy Carlos | 19 | Beauty in the Beast album (1986) |
| That's just it | Synthesizer | 1986 | Wendy Carlos | 19 | Beauty in the Beast album (1986) |
| Yusae-Aisae | Synthesizer | 1986 | Wendy Carlos | 19 | Beauty in the Beast album (1986) |
| String Quartet No. 9 | String quartet | 1987 | Ben Johnston | | |
| Long Gunn But Not Fogotten | Original microtonal Instruments | 1987 | Kraig Grady | 11 | Live music with multiple films |
| Mystery Without Clews | Original microtonal Instruments | 1988 | Kraig Grady | 11 | Live music composition and film |
| Critical Band | Ensemble | 1988/2000 | James Tenney | 17 | |
| From Ancient Worlds | Retuned piano | 1986–91 | Michael Harrison | 7 | New Albion album (1992) |
| In a large, open space | Open instrumentation (12+ sustaining instruments) | 1994 | James Tenney | | |
| String Quartet No. 10 | String quartet | 1995 | Ben Johnston | | |
| Diapason | Chamber orchestra | 1996 | James Tenney | 61 | |
| Diaphonic Trio | Violin, Retuned piano | 1997 | James Tenney | | |
| Harmonium #7 | Open instrumentation (12+ sustaining instruments) | 2000 | James Tenney | | |
| Revelation: Music in Pure Intonation | Retuned piano | 2001–06 | Michael Harrison | 7 | Cantaloupe album (2007) |
| Die Kantate, oder Gottes Augenstern bist du | Ensemble | 2002–03 | Wolfgang von Schweinitz | 23 | |
| Les Duresses | Violin/2 violins | 2004 | Marc Sabat | 37 | |
| Arbor Vitae | String quartet | 2006 | James Tenney | 11 | |
| Plainsound Glissando Modulation, op. 49 | Violin, contrabass | 2006–07 | Wolfgang von Schweinitz | 13 | RAGA in just intonation |
| Hairy Hippy Happy | Horn, trombone, tuba | 2006–10 | Marc Sabat | 23 | |
| Just Ancient Loops | Multi-track cellos | 2008–12 | Michael Harrison | 11 | Cantaloupe album (2012) |
| Euler Lattice Spirals Scenery | String quartet | 2011 | Marc Sabat | 7 | |
| Our Rainy Season | Flute, bass flute, alto saxophone, contrabass | 2011 | Kraig Grady | 167 | either/OAR album (2011) |
| Lying in the grass, river and clouds | Piano, ensemble | 2012 | Marc Sabat | 23 | chamber concerto |
| Jaunpuri (Rendition of a Raga) | Retuned piano, tabla, tanpura | 2012–15 | Michael Harrison | 3 | Innova album (2017) |
| Gioseffo Zarlino | 2+ instruments | 2015 | Marc Sabat | 13 | |
| Harmonic Constellations | Multi-track violins, electronics | 2015–16 | Michael Harrison | 7 | New World Records album (2016) |
| Just Constellations | Roomful of Teeth vocal octet | 2015–16 | Michael Harrison | 11 | |
| Asking ocean | String quartet, large ensemble | 2016 | Marc Sabat | 13 | |
| For organ and brass | Meantone organ, brass trio | 2016 | Ellen Arkbro | 7 | |
| Cello Constellations | Multi-track cellos, electronics | 2016–17 | Michael Harrison | 13 | Miasmah album (2018) |
| Prisma Interius I | Open instrumentation | 2017 | Catherine Lamb | | |
| Prisma Interius II | Solo synthesizer | 2017 | Catherine Lamb | | |
| Prisma Interius III | Viola, voice, synthesizer | 2017 | Catherine Lamb | | |
| Prisma Interius IV | Bass flute, 2 violas, gamba, voices, synth | 2017 | Catherine Lamb | 13 | |
| Prisma Interius V | Harp, clarinet, wine glasses, synthesizer, string orchestra | 2017 | Catherine Lamb | | |
| Prisma Interius VI (for V.T.) | Viola, synthesizer (plus viola, cello) | 2017 | Catherine Lamb | | |
| HANDS to MOUTHS | Fixed media installation: female Dhrupad voice, video | 2018 | Marc Sabat | | Video by Mareike Yin-Yee Lee |
| Prisma Interius VII | Violin, synthesizer | 2018 | Catherine Lamb | | |
| Prisma Interius VIII | Clarinet/tenor recorder, violin/viola, cello, guitar/contrabass, two synthesizers | 2018 | Catherine Lamb | | |
| Prisma Interius IX | Flute, trumpet, bass trombone, guitar, violin, viola, cello/voice, vox/gamba, synthesizer | 2018 | Catherine Lamb | | |
| The Luminiferous Aether | Orchestra (3.3.3.3/4.3.2.1/Timp.3/Hrp/Str) | 2018 | Marc Sabat | | |
| Bercer (to rock) | Solo cello | 2019 | Thomas Nicholson | 13 | |
| Gliding Drones | Mixed choir, string orchestra, electronic sine waves | 2019 | Matej Sloboda | | |
| Monument of Diamonds | Trumpet, saxophone, trombone, organ | 2019 | Kraig Grady | 151 | Another Timbre album (2019) |
| Port (Rondo for Marcus Pal) | SuperCollider | 2020 | Thomas Nicholson | 37 | |
| Harmonium (glistening) | Open instrumentation | 2021 | Thomas Nicholson | 19 | |
| Inner Voice | Electric guitar, string quartet, electronics | 2021 | Marc Sabat | | |
| Nocturne | Flute, bass flute, alto saxophone, bass trombone, accordion, electric guitar, harp, violin, cello | 2022 | Thomas Nicholson | 13 | |
| To walk in this what came to pass | Flauto traverso, baroque oboe, theorbo, positive organ, bass flute, harp, Fender Rhodes synth, strings | 2022 | Marc Sabat | | |