Throughout the piece, he uses exotic scale patterns, such as the Lydian and whole tone scales in the first movement; in addition, there is a twelve-tone row in the second movement, which is probably the only one in Bartók's entire oeuvre.
Throughout the piece, Bartók also uses exotic scale patterns, such as the Lydian and whole tone scales in the first movement. In addition, there is a twelve-tone row in the second movement, which is probably the only one in Bartók's entire oeuvre.