Pitch Structure
An important global structural feature of Musica ricercata is that Ligeti confines himself to only certain pitch classes in each movement, with each subsequent movement having exactly one more pitch class than the last. The pitches found in each movement are as follows:
| Movement | Pitches |
|---|---|
| I | A, D |
| II | E♯, F♯, G |
| III | C, E, E♭, G |
| IV | A, B♭, F♯, G, G♯ |
| V | A♭, B, C♯, D, F, G |
| VI | A, B, C♯, D, E, F♯, G |
| VII | A♭, A, B♭, C, D, E♭, F, G |
| VIII | A, B, C, C♯, D, E, F♯, G, G♯ |
| IX | A, A♯, B, C, C♯, D, D♯, F, F♯, G♯ |
| X | A, A♯, B, C♯, D, D♯, E, F, G♭, G, G♯ |
| XI | A, A♯, B, C, C♯, D, D♯, E, F, F♯, G, G♯ |
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“Why does philosophy use concepts and why does faith use symbols if both try to express the same ultimate? The answer, of course, is that the relation to the ultimate is not the same in each case. The philosophical relation is in principle a detached description of the basic structure in which the ultimate manifests itself. The relation of faith is in principle an involved expression of concern about the meaning of the ultimate for the faithful.”
—Paul Tillich (1886–1965)