Paul Hindemith’s Symphony in B-flat: Exploring The Harmonic Wedge


Palabras clave:

Paul Hindemith, Harmonic Wedge, Symphony, Analysis, Symphony in B flat


This research provides a conductor’s analysis of the harmonic structure of Paul Hindemith’s Symphony in B flat. The author’s methodological approach uses the harmonic guidelines as outlined by Hindemith in his Craft of Musical Composition, Book 1 to assess the structure of the symphony’s harmonies. Beginning with the overtone series, Hindemith’s harmonic guidelines establish the basis for Series I and Series II. The first series displays the melodic relationship between pitches, while the second while the second series outlines the harmonic relationship between pitches. These two series are used in combination to create the framework for Hindemith’s harmonic language throughout his Symphony in Bflat. This paper presents Hindemith’s use of the harmonic language through a harmonic wedge, integrated throughout the composition at micro and macro levels. The author argues that the harmonic wedge, a device used throughout the composition, functions as a unifying element within each movement of the symphony.


Bedell, Melody Joy. 1985. “The Craft of Musical Composition Applied to Hindemith’s Clarinet Concerto.” MM diss. University of Tennessee.

Boatwright, Howard. 1964. “Paul Hindemith as a Teacher.” The Musical Quarterly 50 (3): 279-289.

Bruhn, Siglind. 2005. The Musical Order of the World: Kepler, Hesse, Hindemith. New York: Pendragon Press.

Curley, Jason Leo. 2010. “Revealing Structural Aspects of Paul Hindemith’s Symphony in B-flat for Concert Band Through a Map: Music Analysis Profile.” DMA diss. University of Arizona.

Ferguson Jr., Thomas Clarence. 1971. “An Analysis of Four American Symphonies for Band.” Ph.D. diss. The University of Rochester.

Gauldin, Robert. 2004. “The Theory and Practice of Chromatic Wedge Progressions in Romantic Music.” Music Theory Spectrum 26 (1): 1-22.

Hindemith, Paul. 1949. A Concentrated Course in Traditional Harmony II. New York: Associated Music Publishers.

Hindemith, Paul. 1937. Craft of Musical Composition: Book 1 Theoretical Part, trans. Schott’s Sohne. New York: Associated Music Publishers.

Hindemith, Paul. 1951. Symphony in B flat. Mainz: Schott Music.

Goldman, Edwin Franko. 1958. “Hindemith: Symphony in B flat for Concert Band; Schoenberg: Theme and Variations, Opus 43 A; Stravinsky: Symphonies of Wind Instruments by Eastman Symphonic Wind Ensemble, Frederick Fennell, Hindemith, Stravinsky and Schoenberg.” The Musical Quarterly 44 (1): 126-128.

Neumeyer, David. 1986. The Music of Paul Hindemith. New Haven and London: Yale University Press.

Scott, Joseph. 2017. “Compositional Style of Paul Hindemith’s Symphony in B flat: An Analysis of Harmonic Phrasing in the First Movement.” College Park.

Straus, Joseph. 2006. Introduction to Post-Tonal Theory. Third Edition. New Jersey: Pearson Prentice Hall.

Vaught, Dwight. 1993. “An Analysis of Paul Hindemith’s Symphony in B? for Concert Band Based on the Craft of Musical Composition.” MM diss., Mankato State University.

Whitwell, David. 2013. “Making Masterpieces Musical: Hindemith Symphony in B flat.”Essays on Performance Practice, 67-71. Austin, Texas: Whitwell Publishing.



Cómo citar

Scott, Joseph. 2021. «Paul Hindemith’s Symphony in B-Flat: Exploring The Harmonic Wedge ». Estudios Bandisticos · Wind Band Studies 4 (1). Madrid, España:41-71.