Editing Shepard tone (section)

== Examples ==
* [[James Tenney]]'s ''[[For Ann (rising)]]'' consists entirely of a Shepard tone [[glissando]] with gradual modulations.
* A section near the end of [[Karlheinz Stockhausen]]'s ''[[Hymnen]]'' incorporates multiple descending Shepard tone glissandos.<ref>{{cite journal
| last1      = Deutsch
| first1     = Diana
| date       = 2010
| title      = The Paradox of Pitch Circularity
| url        = https://acousticstoday.org/wp-content/uploads/2017/09/Article_1of3_from_ATCODK_6_3.pdf
| journal    = Acoustics Today| volume = 6
| issue = 3
| pages = 8–14
| doi = 10.1121/1.3488670
}}</ref>
* The ending of [[The Beatles]]' "[[I Am the Walrus]]" incorporates a Shepard tone with a chord progression built on ascending and descending lines in the bass and strings that line up to create the auditory illusion.<ref>{{cite web|last=Pollack|first=Alan W.|title=Notes on "I Am The Walrus"|url=https://www.icce.rug.nl/~soundscapes/DATABASES/AWP/iatw.shtml|website=soundscapes.info}}</ref>
* The ending of [[Pink Floyd]]'s "[[Echoes (Pink Floyd song)|Echoes]]" from their 1971 album ''[[Meddle]]'' features an ascending Shepard tone created using a feedback technique involving two tape recorders sharing a single tape, with one set to play and the other to record.<ref>{{cite book|last=Blake|first=Mark|author-link=Mark Blake (writer)|title=Pigs Might Fly: The Inside Story of Pink Floyd|url=https://books.google.com/books?id=fC_BAgAAQBAJ|publisher=Arum Press|year=2011|orig-year=2007|isbn=978-1-781-31519-4|access-date=18 November 2021|archive-date=21 May 2021|archive-url=https://web.archive.org/web/20210521212507/https://books.google.com/books?id=fC_BAgAAQBAJ|url-status=live}}</ref>
* [[Queen (band)|Queen]]'s 1976 album ''[[A Day at the Races (album)|A Day at the Races]]'' opens and closes with a Shepard tone.<ref>{{cite book|title=The Nolan Variations: The Movies, Mysteries, and Marvels of Christopher Nolan|page=172|last=Shone |first=Tom |date=2020 |publisher=Knopf Doubleday|isbn=9780525655329}}</ref>
* In his 1979 book ''[[Gödel, Escher, Bach|Gödel, Escher, Bach: An Eternal Golden Braid]]'', [[Douglas Hofstadter]] explained how Shepard scales could be used on the ''Canon a 2, per tonos'' in [[Johann Sebastian Bach|Bach's]] ''[[Musical Offering]]'' (called the ''Endlessly Rising Canon'' by Hofstadter<ref name="GEB">{{cite book |title=[[Gödel, Escher, Bach: An Eternal Golden Braid]] |last=Hofstadter |first=Douglas |author-link=Douglas Hofstadter |year=1980 |publisher=Penguin Books |isbn=0-14-005579-7 |edition=1st}}</ref>{{rp|10}}) for making the [[modulation (music)|modulation]] end in the same pitch instead of an octave higher.<ref name="GEB" />{{rp|717–719}}
* On [[Yellow Magic Orchestra]]'s 1981 [[Electronic music|electronic]] album ''[[BGM (album)|BGM]]'', the [[Ambient music|ambient]] track "Loom" has "a patiently ascending, two-minute-long" Shepard tone according to ''[[Pitchfork (website)|Pitchfork]]''.<ref name="Yoo2">{{cite web |last=Yoo |first=Noah |author-link=Cafuné |date=7 March 2021 |title=Yellow Magic Orchestra: BGM |url=https://pitchfork.com/reviews/albums/yellow-magic-orchestra-bgm/ |access-date=7 March 2021 |work=[[Pitchfork (website)|Pitchfork]]}}</ref>
* The [[Deep Note]] sound trademark of [[THX]], introduced in 1983, uses a Shepard tone.<ref name="Yoo2" />
* In 1995, Ira Braus argued that the final sequence of [[Franz Liszt]]'s 1885 piano piece ''[[Bagatelle sans tonalité]]'' could be continued to produce a Shepard scale using Hofstadter's technique.<ref>{{cite journal|last=Braus|first=I. |date=1995|title= Retracing one's steps: An overview of pitch circularity and Shepard tones in European music, 1550–1990 |journal= Music Perception|volume= 12 |issue=3 |pages= 323–351|doi=10.2307/40286187 |jstor=40286187 | url=http://www.jstor.com/stable/40286187}}</ref>
* In a 1967 [[AT&T]] film by Shepard and E. E. Zajac, a Shepard tone accompanies the ascent of an analogous [[Penrose stair]].<ref>{{cite AV media |first1=Roger N. |last1=Shepard |first2=Edward E. |last2=Zajac |url=http://techchannel.att.com/play-video.cfm/2011/10/10/AT&T-Archives-A-Pair-of-Paradoxes|title=A Pair of Paradoxes |publisher=AT&T Bell Laboratories |year=1967}}</ref>
*In the video game ''[[Super Mario 64]]'' (1996) for the [[Nintendo 64]] console, a piece that plays when the player tries to climb the neverending stairs located in the penultimate room of Peach's Castle incorporates a slightly modified Shepard scale played in the background. This auditory illusion complements the spatial loop effect, seemingly giving the impression that the stairs never end.<ref>{{Cite book|last=Phillips|first=Winifred|url=https://books.google.com/books?id=qebUAgAAQBAJ&pg=PA30|title=A Composer's Guide to Game Music|date=14 February 2014|publisher=MIT Press|isbn=978-0-262-02664-2|language=en}}</ref>
* In [[Godspeed You! Black Emperor]]'s "The Dead Flag Blues" from their 1997 album ''[[F♯ A♯ ∞]]'', a section mainly consisting of [[slide guitar]] is briefly looped into itself to create a downward Shepard tone.
*On their 1998 album ''[[LP5]]'', English electronic duo [[Autechre]] employed a decelerating Risset rhythm for the track "Fold4,Wrap5".
*Austrian composer [[Georg Friedrich Haas]] incorporates Shepard tones at various points in his orchestral piece ''in vain'' (2000/02).<ref>{{Cite journal|last=Hutchinson|first=Mark|title=Stairways in the Dark: Sound, Syntax and the Sublime in Haas's in Vain|date=April 2019|url=https://www.cambridge.org/core/journals/tempo/article/abs/stairways-in-the-dark-sound-syntax-and-the-sublime-in-haass-in-vain/BD3AF1FBE848F2D9F5247AE33C9685C5|journal=Tempo|volume=73|issue=288|pages=7–25|doi=10.1017/S0040298218000943|s2cid=151161376|issn=0040-2982}}</ref>
* Christopher Nolan said in an interview that the soundtrack of his 2006 film ''The Prestige'' (composed by David Julyan) explores the potential of Shepard tones as a fundamental basis for compositions.<ref>{{Cite web|last=Guerrasio|first=Jason|title=Christopher Nolan explains the biggest challenges in making his latest movie 'Dunkirk' into an 'intimate epic'|url=https://www.businessinsider.com/christopher-nolan-dunkirk-interview-2017-7|access-date=2020-11-14|website=Business Insider}}</ref> This is fully realised in his 2017 film ''[[Dunkirk (2017 film)|Dunkirk]] where'' a Shepard tone is used to create the illusion of an ever increasing moment of intensity across intertwined storylines.<ref>{{cite web |last=Haubursin |first=Christopher |date=26 July 2017 |title=The sound illusion that makes Dunkirk so intense |url=https://www.vox.com/videos/2017/7/26/16033868/dunkirk-soundtrack-shepard-tone |website=Vox}}</ref>
* In [[Stephin Merritt]]'s 2007 song "Man of a Million Faces", composed for [[NPR]]'s "Project Song", the Shepard tone is a key aspect.<ref>{{cite AV media |date= 4 November 2007 |title= Stephin Merritt: Two Days, 'A Million Faces' |medium=video |url=https://www.npr.org/2007/11/04/15859351/stephin-merritt-two-days-a-million-faces |access-date=9 October 2015 |publisher=NPR |quote='It turns out I was thinking about a Shepard tone, the illusion of ever-ascending pitches.'}}</ref>
* In the 2008 film ''[[The Dark Knight]]'' and its 2012 followup ''[[The Dark Knight Rises]]'', a Shepard tone was used to create the sound of the Batpod, a motorcycle that the filmmakers did not want to change gear and tone abruptly but to accelerate constantly.<ref>{{cite news |title='The Dark Knight' sound effects |first=Richard |last=King |url=https://www.latimes.com/archives/la-xpm-2009-feb-04-en-lightsknight4-story.html |newspaper=Los Angeles Times |date=4 February 2009 }}</ref>
* The 2009 [[progressive house]] song "[[Leave the World Behind (song)|Leave the World Behind]]" by [[Swedish House Mafia]] features a Shepard tone in the form of an ongoing "riser" to build up the tension throughout the track.<ref>{{cite AV media|url=https://www.youtube.com/watch?v=xG4AhAnyqvE?t=1m14s|title=Axwell, Ingrosso, Angello, Laidback Luke ft. Deborah Cox - Leave The World Behind (Original)|via=YouTube}}</ref>
* The [[non-Euclidean]] video game [[HyperRogue]] uses a Shepard tone in its music for the land "R'Lyeh" and its subland "Temple of Cthulhu". Since the latter is an infinite sequence of concentric [[horocycle]]s, the music conveys the feeling of the player continually descending, but never getting any closer to the center.
*In [[Lucrecia Martel]]'s feature film ''Zama'' (2017), there is extensive use of the Shepard tone creating a "loud and shreechy soundscape, in order to achieve closeness to the viewer", according to the director.<ref>{{Cite magazine|last1=Gemünden|first1=Gerd|last2=Spitta|first2=Silvia|date=2018-06-01|title='I Was Never Afraid': An Interview with Lucrecia Martel|url=https://online.ucpress.edu/fq/article-abstract/71/4/33/42163/I-Was-Never-Afraid-An-Interview-with-Lucrecia?redirectedFrom=fulltext|magazine=Film Quarterly|language=en|volume=71|issue=4|pages=33–40|doi=10.1525/fq.2018.71.4.33|issn=0015-1386}}</ref>
* The 2018 track "[[Always Ascending (song)|Always Ascending]]" by [[Franz Ferdinand (band)|Franz Ferdinand]] from the album of the same name features a rising Shepard tone throughout the song. The video for the song echoes the effect, with the camera apparently rising continually throughout.<ref>{{cite web|url=https://www.telegraph.co.uk/music/what-to-listen-to/franz-ferdinand-still-operating-elevated-plateau-always-ascending/|title=Franz Ferdinand are still operating on an elevated plateau – Always Ascending, review |last=McCormick|first=Neil|website=The Telegraph|date=9 February 2018}}</ref>
*In [[Sumio Kobayashi]]'s piano work "Unreal Rain", the Shepard tone is entirely used.<ref>{{Citation|title=Sumio Kobayashi "Unreal Rain" (Japan)|url=https://www.youtube.com/watch?v=wXjiC8IRC3o| archive-url=https://ghostarchive.org/varchive/youtube/20211211/wXjiC8IRC3o| archive-date=2021-12-11 | url-status=live|language=en|access-date=2021-10-15}}{{cbignore}}</ref>{{clarify|date=November 2023}}
*In the song "[[Fear_Inoculum_(song)|Fear Inoculum]]", Tool drummer [[Danny Carey]] introduces the track with the Shepard tone.
*The track "Neuron Activator" from the [[Cruelty Squad]] soundtrack uses a constantly repeating Shepard tone, in line with the intentionally crude and semi-[[Dadaist]] nature of the game's soundtrack.