TWELVE-TONE COMPOSITION

Basic twelve-tone operations

Twelve-tone music is based on a series of pitches (row) that contains all twelve pitch classes
with no recurrences. Any pitch can be reiterated until the next pitch class in the series occurs.
Example 1 is a row extracted from Schoenberg's first twelve-tone composition. The pitches are
numbered according to their position in the chromatic scale beginning on E. E is numbered 0
because it is the first note of the row or the reference pitch. The pitch class numbers of the
remaining notes indicated their distance above E in half-steps.
Example 1: Row from Suite, Op. 25, Schoenberg

Forms of the Row

A row is an ordered set of pitches that is also called a twelve-tone row, set, or series. Forms
of this ordered set include the original row (Prime), its inversion, retrograde, and retrogradeinversion. Each of these forms can begin on any of the twelve pitch classes; that is, each can be
transposed to eleven other pitch levels.
The prime version of the row (also call original) is a collection of pitches in a specific order. In
reference to a twelve-tone row, "prime" means "original form," a different meaning than the
"prime form" of an unordered set discussed in the previous chapter. The retrograde form of the
row is created by writing the notes in the original version in reverse order.

The inversion form is the melodic inversion of the original, all intervals written upside down, all
interval directions changed. The Retrograde inversion is created by writing all of the notes of
the inversion in reverse order.

Modulo 12 Operations
One can use modulo 12 arithmetic to describe any form of a row. It can also be used to
transform one form of a row to another form. For example, complete a transposition by adding
the number of the transposing interval to the pitch class number (transposition = PC number + T
number, mod 12). Complete an inversion by subtracting the pitch class number from 12
(inversion = 12 - PC number, mod 12). Write the retrograde by reversing the order of the pitch
class numbers. Write the retrograde-inversion by reversing the order of pitch class numbers in
the inversion.
The Reference Pitch

The reference pitch of the original and inversion forms is always the first note. The first pitch in
the untransposed original and its inversion is always numbered 0. The first pitch of any
transposition is always 0 plus the interval number of the transposition, modulo 12.
The first pitch of the original is the last pitch of the retrograde, thus, the reference pitch of the
retrograde and the retrograde inversion forms is always the last note. The last pitch of any
transposition of the retrograde or a retrograde inversion is always 0 plus the transposition
interval number.
The Twelve-Tone Matrix
Any twelve-tone composition is based on several forms of a row. One can easily create and
refer to a table of row forms when analyzing or composing a serial composition. This table is
called variously a twelve-tone matrix, twelve-by-twelve array, or magic square.
The steps below describe how to construct a twelve-tone matrix on a twelve-by-twelve grid (see
example 2)
1. Write the untransposed original version in first row of the grid. Include the pitch class
numbers.
2. Subtract the pitch class numbers of the original version from 12 to produce the pitch
class numbers of the inversion. Translate these numbers into pitch names and write the
inversion in first column of the grid. Include the pitch class numbers.
3. Write all transpositions of the original form using the pitch class number in the first
column as the reference pitch for the transposition. Complete the transpositions by
adding the number at the beginning of each row to the pitch class numbers of the
original row. If the result is greater than 11, subtract 12.
4. The left-to-right diagonal will contain only PC if all operations are correct.
Example 2: The first steps in making a twelve-tone matrix (Op. 25 row).

Inversion of P
P, original row E
0

F
1

Add 11 to every D
PC number in
11
P

E
0

add 9

C
9

add 3

G
3

add 10

D
10

add 1

F
1

add 8

C
8

add 2

F
2

add 5

A
5

add 4

G
4

add 7

B
7

add 6

B
6

G
3

C
9

F
2

D
11

G
4

D
10

B
7

C
8

A
5

B
6

E
0
E
0
E
0
E
0
E
0
E
0
E
0
E
0
E
0
E
0

The pitch class number in any square is the sum of the numbers at the beginning of its row and
the top of its column. Subtract 12 from any integer larger than 11. The top-to-bottom diagonal
always contains PC. This is true of all rows, so use this as a proof of accuracy.
To complete the matrix in columns instead or rows, add the number in the first column to each
pitch class number in the first column. The number at the top of each column serves as the
reference pitch for each transposition of the inversion.
When the matrix is complete, one can find any retrograde form by reading a row backwards
(right to left). One can find any retrograde inversion form by reading an inversion backwards
(bottom to top). The reference pitch of the prime and retrograde forms is always in the first
column. The reference pitch of the inversion and the retrograde inversion is always in the top
row.
For example, the bottom row of the grid contains P6 and R6. The right-most column contains I6
and RI6. The transposition interval of all these forms is 6, expressed as T6.

Kinds of Rows
Sets Containing Tonal Cells
Serial music is sometimes regarded as atonal because, in theory, equal emphasis on all twelve
tones will create a state in which no tonal focus can be heard. In reality, tonal focus is difficult to
avoid. Most small collections of intervals focus on a particular pitch. One can diffuse this focus
by avoiding recurring emphasis on particular pitches or by avoiding interval root reinforcement
in a cell. Actually, serial music can be tonal if the composer emphasizes tonal cells. A tonal cell
contains a root. Examine any row to see if tonal cells are part of its nature. Rhythmic emphasis
on the root of a cell will underscore its tonal nature.
Tonal cells are circled in example 3. Each cell is bound by a perfect fifth. Arrows show the roots
of these fifths. The first four cells intersect (overlap) by one note. Each intersection contains the
root of a cell. The notes in the fifth cell, a C major triad, are marked with a bracket because this
cell intersects deeper into the previous cell than the others.
Example 3: A set containing tonal cells (row from Violin Concerto, Alban Berg, 1935)

The next passage outlines tonic to dominant progressions in two minor keys (see row in
Example 3). The numbers by the notes indicate their order in the row.
Example 4: Violin Concerto, mm11-14 Alban Berg

The row in example 6 is organized in three tetrachords that suggest the keys of D minor, C
minor, and C minor respectively. The root of each tetrachord cell is marked with an arrow.
Each root is the first strong interval root in the tetrachord. Possible secondary roots are
indicated by arrows enclosed in parenthesis.
Example 5: Series of Liberty Row from Il Prigioniero Dallapiccola

Example 6 contains a harmonization of two semitone patterns, E -D and F-E. Another

semitone pattern, A -B, is a pedal. The excerpt begins with strong focus on B. The number by
each note indicates its order in the original row (see example 9).
Example 6: Quaderno musicale di Annalibera 1952, no. 1, Simbolo Dallapiccola

Ed. Suvini Zerboni, Milan

In spite of sharp dissonances, the passage in example 7 has the effect of an authentic cadence
in E . The original row is shown in example 15.
Example 7: Ode to Napoleon, Op. 41 Schoenberg

All-Interval Sets
A series of pitches is also a series of intervals. A row (as an ordered collection of intervals) can
be designed to emphasize certain intervals. The rows in examples 8 and 9 contain a sequence
of every interval.
Example 8: Row in Song and Lyric Suite Berg

Example 9: Row from Quaderno Musicale di Annalibera, No. 6, Fregi, mm1-4 Luigi Dallapicolla

Ed. Suvini, Milano

Example 10: Quaderno Musicale di Annalibera, No. 6, Fregi, mm1-3 Luigi Dallapicolla

Ed. Suvini, Milano

Symmetrical Sets
The intervals in example 11 are arranged in a symmetrical pattern. The brackets link
corresponding intervals in the two halves of the row. The second hexachord of this row is a
retrograde inversion of the first hexachord. Any set that has this feature will have interval
symmetry like that shown here. Webern used similar sets in his Symphony, Op. 21; Cantata 1,
Op.29; and, Variations for Orchestra, Op. 30.
Example 11: Symmetrical row in Quartet Op. 28 Webern

The intervals in the next row (example 12) occur in order of increasing size. When the intervals
are identified by interval classes numbers, the retrograde-inversion symmetry becomes
apparent.
Example 12: Symmetrical all-interval set in Il canto sospeso Nono

Set Class Content

A row is also a sequence of set classes. Set classes contribute to a row's unique identity and
melodic/harmonic potential. Set inventories (set typing) can be used to arrange the possibilities
into a catalog of fewer genres, creating a more manageable situation. This arrangement also
helps reveal the composer's method. For example, both Schoenberg and Webern deliberately
created rows of transformations of one kind of subset (see examples 13 and 14).
To inventory the set classes contained a row, all sets must be placed in normal form. This is the
first step toward finding their prime form. The lowest pitch in normal form is indicated by the
integer 0 (i.e. 0 1 4).
The integers indicate the relative distance above a reference pitch in half steps. The numbers
also represent an inventory of the intervals in the pattern. For example, the trichord 0 1 4
contains a minor second and a major third above the reference pitch.

Prime form is the most compact version of a set and its inversion. Prime form is written in
parenthesis, (0 1 4), the lowest note always 0.
Example 13 contains a row based on recurrences of the set class 0 1 4. The notes in each
trichord are arranged in normal form (low-to-high order) in the second staff. The third staff
contains the prime form of the trichords. Normal and prime forms are identical in the first and
third trichords. The third staff is not a twelve-tone row.
Example 13: Row in Concerto for Nine Instruments, Op. 24 Webern

The row in example 14 was also based on one set class0 1 4. As in example 13, the prime form
of the second and fourth trichords is the inversion of the normal form. The third staff illustrates
prime forms and is not a twelve-tone row. Compare examples 13 and 14.
Example 14: Row in Ode to Napoleon, Op. 41 Schoenberg

Derived Set
A derived set consists of variations of the first few notes of the row. The previous two examples
were derived sets. Examples 15 and 16 show how these rows were derived from the first
trichord. The abbreviations indicate various forms of the row (P= untransposed original, RI7 is
the retrograde inversion at T7, R6 is the retrograde at T6, and I1 is the inversion at T1). The
arrows point to the reference pitches which are the first note in P and I form and the last note in
R and RI forms.
Example 15: Derived set in Concerto for Nine Instruments, Op. 24 Webern

All trichords and hexachords are derived in example 16 (H = the original untransposed
hexachord, H2 = the hexachord at T2)

Example 16: Derived set in Ode to Napoleon Op. 41 Schoenberg

The next row (example 17) has both tetrachord and hexachord divisions. The second tetrachord
is also R4, and the third as RI9.
Example 17: Derived set in Op. 28 Webern

TEXTURE IN TWELVE-TONE COMPOSITION

Composers can use any known texture in twelve-tone composition. Conventional homophonic
and polyphonic patterns are common in serial literature.
Certain features of twelve-tone composition affect other factors in a composition. For example,
octave and enharmonic equivalence can produce extremely disjunct melody if no restriction is
placed on the size of melodic intervals. The composer could distribute the notes in a row as
fragments among several voices. The disjunct and fragmentary effect is sometimes called
pointilism. A Klangfarbenmelodie (tone-color melody) is created if the fragments are moved
systematically from color to color in the media.
The notes of a row can be distributed among two or more voices, in any octave, sounded one at
a time or together as suggested below.

3
4

6
7

9 11 12
10

A row can appear in melodies, accompaniments, conversational flows, or counterpoint.

More than one row can sound at one time. Rows can overlap each other so that one row begins
before another is completed, or one row can start on the last note of the previous row.
Composers can combined forms so simultaneous rows periodically create twelve-tone
aggregates (unordered collections), and they can select row forms that emphasize particular
properties of the row. Composers seldom use all 48 possible forms in the twelve-by-twelve array
in a single composition. Usually, a composer selects a few forms that have special relationships
with each other.
The analyst should not stop at note counting but rather strive to recognize broader patterns of
thought. In twelve-tone music, the composer's selection of particular forms of the row and how
these are related to one another are particularly significant.
Take time to consider all the the systems that make up the composition such as texture,
melody, and rhythm factors. At some point, view the composition as a whole organism, a
system made up of a unique combination and interaction of subsystems.

Unaccompanied Melody
George Rochberg dramatically opened his second symphony with tutti octaves in the winds,
brass, and percussion. He divided the row into three declamatory bursts.
Example 18: Symphony No. 2 mm1-4 George Rochberg

Accompanied Melody
In example, a row is assigned to a melody in the first violin. The other voices accompany the
melody with a chord motif. Each chord motif consists of the complementary notes in the set (all
but the three notes stated in the top voice). The twelve-tone aggregates formed by this
technique are enclosed in dotted lines.
Example 19: String Quartet, no. 4, Op. 37, I Schoenberg

In example 20, the row is divided into distinct trichord cells. These cells progress through a
series of rhythmic augmentations of the first cell. This process produces a cohesive
conversation-like flow from timbre to timbre (see derived set, Example 13).

Example 20: Concerto for Nine Instruments, Op. 24, reduced score, mm1-5 Webern

Polyphony
Example 21 is a canon at the unison (T). The rhythmic offset is five quarter notes. The cells in
the top voice are a rhythmic variation of the cells in the bottom voice. Rests were added to the
top voice so that it would not overtake the lead voice. The P version of this row is in example
9.
Example 21: Contrapunctus Primus, mm1-4, N. 3, Quaderno Musicale di Annalibera Luigi
Dallapiccola,

COMBINATORIALITY
Basis of Combinatorial Patterns, the Aggregate
An aggregate is an unordered collection of all twelve pitch classes. A twelve-tone aggregate is
a harmony made up of all twelve pitch classes and can be presented melodically or
harmonically in any combination. Aggregates can be created by sounding complementary parts
of the same row together. In short, a row can accompany itself.
Complement
A set and its complement contain all twelve pitch classes. Any of the twelve pitch classes not
included in a set are part of the complement. If a set contains four pitch classes, its
complement will contain the remaining eight pitch classes.
Self-complementing Hexachords
As shown in example 22, some hexachords map onto their complements. A hexachord is selfcomplementing if the complement is the transposition or transposed inversion of the original
and if it contains none of the original pitch classes. The hexachord and its complement are
members of the same set class.
Example 22: Row from Ode to Napoleon, Op. 41 Schoenberg

Hexachordal Combinatoriality
Combinatoriality gives cohesiveness, consistency, and structure to a succession of ideas,
longer span pitch modules, and to the large scale design of a composition. Hexachordal
combinatoriality occurs if a hexachord combines with another form of itself to create an
aggregate. This is possible with some but not all hexachords.
Example 23 shows how the hexachords of the P and I5 forms of a row combine to form
twelve-tone aggregates. (I5 is the inversion at T5). The crisscross lines indicate that the linked
hexachords contain identical pitch classes but in a different order.
Example 23: two combinatorial rows from works by Schoenberg
Piano Piece, Op. 33a String Quartet 4, Op. 37, 1937

Conditions of Hexachordal Combinatoriality

A hexachord is combinatorial if
1. The complement is produced by a transposition (maps onto its complement).
2. The complement is produced by an inversion (maps onto its complement).
3. A transposition produces the original collection of PCs (maps onto itself).
4. An inversion produces the original collection of PCs (maps onto itself).
Kinds of Combinatoriality
A hexachord that produces its complement under a transposition is prime combinatorial: the
original hexachord and one of its transpositions combine to form an aggregate of all twelve pitch
classes. Some hexachords are combinatorial under inversion, retrograde, or retrograde
inversion (shown in example 24).
In the next example, P is the original row, and "n"represent an interval of transposition that
varies from case to case. Disregard forms where n = (R always forms aggregates with P).
H1 is the first and H2 the second hexachord of the original row.
Example 24: Kinds of combinatoriality

P H1 H2

P H1 H2

prime
Pn H1 H2
combinatorial

inversion
In H1 H2
combinatorial

P H1 H2
retrograde
Rn H2 H1
combinatorial

H1 H2

retrogradeRIn H2 H1
inversion
combinatorial

The hexachords in the rows used by Schoenberg in Op.

33a and Op. 37 (see example 23) are inversion
combinatorial at T5.
All-Combinatorial Hexachords
Only a few hexachords are combinatorial in all forms. Six of the hexachord set classes are allcombinatorial. An all-combinatorial hexachord produces its complement in I, R, and RI forms
under one or more transpositions.

Class

The six all-combinatorial hexachords are presented in

Table 1.
The first three hexachords first order classes produce
complements under only one transposition and one
inversion (number 1 is a chromatic hexachord, number
3 a diatonic hexachord)
The fourth hexachord is a second order class that
produces complements under two transpositions and
inversions
The fifth hexachord is a third order class that
produces complements under three transpositions and
inversions (consists of three m2 a major third apart)
The sixth hexachord is a fourth order class that
produces complements under six transpositions and
inversions (a whole tone hexachord)

Column

The "Pitches in the Hexachord" column includes the

six pitch classes of the hexachord written in normal
form starting on C.
The "Set Class" column contains the prime forms of
the hexachords.
"T6" indicates transposition interval; "at T3"
indicates a pattern is repeated a minor third higher.

 The "Trichord" column shows how each of

hexachord is divided into two trichords of the same
class.
If a hexachord is made up of recurring dyads of the
same class, this is noted in the "comment" column
along with the transposition level of the two
recurrences of the dyad. The three hexachords that
form traditional scale patterns are noted here.
Schoenberg and Webern explored some of the potential of all-combinatorial hexachords in
various works. The nature of these hexachords was investigated and described in a doctoral
dissertation completed by Milton Babbitt in 1947 and subsequently developed in the
compositions of Babbitt and his followers. Both Babbitt and Allen Forte have made a sizable
contribution to the classification and description of all set classes.
Table 1: Six all-combinatorial hexachords (each produces complementary hexachords in all
forms)

Pitches in the Hexachord

Set Class

Complement Trichords

Comments

1.

(0 1 2 3 4 5)

T6, I11

(0 1 2) at T3

chromatic
(0 1) at T2
and T4

2.

(0 2 3 4 5 7)

T6, I1

0 2 3 at (0
1 3) at T4*

3.

(0 2 4 5 7 9)

T6, I3

(0 2 4) at T5

4.

(0 1 2 6 7 8)

T3,9 I5,11

(0 1 2) at T6

5.

(0 1 4 5 8 9)

T2,6,10
I3,7,11

(0 1 4) at 0 (0 1) at T4
3 4 at T5*
and T8

6.

(0 2 4 6 8 10) T1,3,5,7,9,11 (0 2 4) at T6
I1,3,5,7,9,11

diatonic

whole-tone
(0 2) at T4
and T8

*note the occurrence of both normal and prime forms of a trichord in the second and fifth
hexachords.
A Case Study of Duet by Milton Babbitt
Duet, a composition for piano by Milton Babbitt, is discussed in the next five examples. This
series of examples illustrates an approach to the analysis of a whole twelve-tone work.
An overview of the Duet reveals that the texture of the work is non-imitative polyphony. No
deliberate or systematic repetition of motives is evident, but a certain unity is achieved through
the repetition of certain rhythm ideas. Phrases are punctuated by rhythmic and contour
closures. The row forms and the phrasing are not coordinated. The role of lead voice changes
periodically.

Babbitt helped to develop and refine the concept of combinatoriality so one can approach one of
his compositions with the expectation that it may contain combinatorial features. To confirm, see
if the first hexachords in each voice combine to form an aggregate in example 25..
The first note played, A ,, is PC. Ha is the first hexachord of the row. Ha6 is the first
hexachord at T6. A comparison of the first hexachords in both voices of Duet indicates that the
composer used a combinatorial method. The hexachord in the bottom part (Ha) is repeated in
the top part at T6. Ha and Ha6 are complements because they form an aggregate of the
twelve pitch classes.
The first nineteen measures of Duet are included in examples 25-28. Perform them non-stop.
Example 25: Duet mm. 1-3 Milton Babbitt

The second hexachords (Hb) in the two voices also form aggregates (second beat of m. 3 and
ending on the downbeat of m. 6 in examples 25 and 26), further evidence of combinatorial
method. Again, one hexachord is the transposition of the other at the tritone (T6). Hb and Hb6
are complements because they also form an aggregate of all twelve pitch classes.
Construct a twelve-tone matrix (twelve by twelve array) based on the P in the bottom voice of
m. 1 (starts on A ).
Example 26: Duet mm. 4-7

The RI5 and R6 forms of the row are presented at m. 6 (see examples 26 and 27). The I11 and
RI11 forms of the row begin at the upbeat to m. 11.
Example 27: Duet mm. 8-11

The RI and I5 forms of the row begin at the upbeat to m. 15.

Example 28: Duet mm. 12-19

Synopsis of Duet
The row forms used in Duet were as follows ( = downbeat, = upbeat).

Location
of row
form

of m. 1

after of m.
6

to m. 11

to m. 15

Voice 1

P6

RI5

I11

Voice 2

R6

RI11

I5

The hexachords in each voice always combine to form an aggregate containing the twelve pitch
classes. When placed in prime form, the hexachords are all of class (0 2 4 5 7 9), the diatonic
hexachord. As illustrated in the first bars of Duet (mm. 1-3), this hexachord maps onto its
complement at T6. G A B C D E becomes C D E F G A when transposed by the
interval of a tritone.
The diatonic hexachord is one of six all-combinatorial hexachords identified by Babbitt (see
Table 1). According to the table of all-combinatorial hexachords, this class is P, I, R, and RI
combinatorial at one transposition level. This means that Ha and Hb form aggregates when
paired in different row forms at certain transposition levels. The analysis suggests that use of
combinatorial possibilities was part of Babbitt's plan for Duet. The second two hexachords of
Voice 1 are R6 of the first two hexachords in reverse order. The second two hexachords of
Voice 2 are I5 of the first two hexachords in reverse order.
Continuous repetition of one kind of hexachord adds unity to Duet. The combination of the
hexachords yields a limited number of dyads. The interval sounds and the ensuing level of
dissonance are regulated by the combinatorial relationships.
Tropes
Tropes are created by systematically shifting elements of a set each time the set is repeated.
This technique is like the rotation of notes in subsets. As shown below, composers can rotate
the notes of hexachords in trichord groups. The sample marked B1 is new basic order of the
notes. B1 can be rotated to produce versions B2 and B3 (not shown). The trichords can be
rotated in opposite directions in each hexachord to create even more possibilities.
Example 29: The production of tropes within hexachords

In a twelve-tone composition, a row can be made up of complementary hexachords each of

which can be rotated to produce a series of tropes. This process can also be applied to a row
divided into tetrachords. Example 30 shows a few of the tropes made possible by rotating the
notes of tetrachords in a derived set.
Example 30: Tropes based on tetrachords.

Stravinsky used rotation of hexachords in several compositions, sometimes transposing each

rotation to PC (see scores of Abraham and Isaac, Movements for Orchestra, The Flood, A
Sermon, A Narrative, A Prayer for details on Stravinsky's use of tropes).
Krenek, Perle, and Hauer discussed tropes in their theoretical writings. See articles like Sets
and Order Procedures" in Aspects of Twentieth Century Music by Gary Wittlich.
Serialization of other Factors
The works of Webern, Boulez, Krenek, Babbitt and others contain examples of serialized
rhythm, articulation, dynamics, and register. Webern serialized more than one factor in his
Variations for Piano, II, Op. 27; Symphony, Op. 21; Concerto for Nine Instruments, Op. 24; and
String Quartet, Op. 28.
Other dimensions of a composition subject to serialization can include attack, timbre, time point,
and textural density. Music in which several factors are serialized is called multi-serial music or
total serialism.
Summary
Twelve-tone method is one of several important techniques developed in the twentieth century.
Many prominent composers have tried the method at one time or another in their careers, and
some have adopted the technique as a permanent feature of their style and method. Other
composers do not use the twelve-tone method but may work with pitch and rhythm cells as sets.
The serialists developed the idea of sets into a rigorous methodology.

The twelve-tone music of Arnold Schoenberg features rich orchestration, remarkable and
unique colors, provocative subjects and expressions, and sonic drama. He continued to
consider these factors throughout his career. They are as much a part of Schoenberg's musical
thought as the twelve-tone method he developed.
Twelve-tone method may be an important part of writing a particular composition, but it does not
eliminate the need to make artistic decisions about the timing of events, thematic rhythms, use
and contrast of textural patterns and effects, or the use of media (voice; acoustic, electronic,
invented instruments). When studying a twelve-tone composition, consider all the factors that go
into the artistic product. Do not discount significant factors simply because they lie outside the
control of the serial technique.
Serial method is a subject of considerable depth. The material presented on these pages is
merely an introduction to the topic. Students can find many articles and chapters about serial
study, some of which are suitable for graduate study. A large body of twelve-tone literature is
available in scores and recordings.

TWELVE TONE COMPOSITION - PROBLEMS

TERMS AND PROBLEMS
1. Terms

row (twelve-tone row)

series

set

prime

inversion

retrograde

retrograde inversion

reference pitch

twelve-tone matrix

twelve-bytwelve array

magic square

atonal

tonal cell

all-interval set

set type

symmetrical set

derived set
2. Self-help Problems
Problem 1: On the general use of a twelve-tone matrix.

1. Form of the set in

the first row of the

_______________

grid?
2. Form of the set in
the first column of the
grid?

_______________

3. What form of the set

will you see if you
read
- from left to right?

_______________

- from right to left?

_______________

- from top to bottom?

_______________

- from bottom to top?

_______________

Problem 2: Using pitch class number, what is the formula to determine

the pitch class number for any square of the grid?
Each row of the grid contains a ______________ of the prime set. The
reference pitch of both the prime and retrograde forms of a set is
located in the _____________ _____________ of the grid. The
reference pitch of both the inversion and retrograde-inversion forms of
a set is located in the _____________ _____________ of the grid. A
twelve-tone set is a _________________ collection of all twelve
___________ _____________. A twelve-tone aggregate is a
__________________ <="" td="">
Problem 3: Complete a twelve-tone matrix based on Schoenberg's Op. 41 set. Write the pitch
class names and numbers as per the first row of the grid.

0
C
1
D
9
B
8
A

11 3
C E

4
F

8
A

7
G

2
E

1
D

5
F

6
G

10 9
B B

Solution 1:
(answers)

1. Form of the set in the first

row of the grid?

Prime at 0

2. Form of the set in the first

column of the grid?

Inversion at
0

3. What form of the set will

you see if you read
- from left to right?

Prime*

- from right to left?

Retrograde*

- from top to bottom?

Inversion*

- from bottom to top?

Retro.Inversion*

*at some transposition

Solution 2:
Add the PC number at the beginning of the row to the PC number at
the top of the column to get the PC number in a particular cell of the
grid. This is MOD12 so subtract 12 from any integer greater than 11.
transposition
first column
first row
ordered, twelve tone or pitch classes
unordered
Solution 3: (add the reference PC number to PC number in Primeor subtract its inverse (12PC#)

0
C

11 3
C E

4
F

8
A

7
G

2
E

1
D

5
F

6
G

10 9
B B

1
D

0
C

4
F

5
F

9
B

8
A

3
E

2
E

6
G

7
G

11 10
C B

9
B

8
A

0
C

1
D

5
F

4
F

11 10 2
C B E

3
E

7
G

6
G

8
A

7
G

11 0
C C

4
F

3
E

10 9
B B

1
D

2
E

6
G

5
F

4
F

3
E

7
G

8
A

0
C

11 6
C G

5
F

9
B

10 2
B E

1
D

5
F

4
F

8
A

9
B

1
D

0
C

7
G

6
G

10 11 3
B C E

2
E

10 9
B B

1
D

2
E

6
G

5
F

0
C

11 3
C E

4
F

8
A

7
G

11 10 2
C B E

3
E

7
G

6
G

1
D

0
C

4
F

5
F

9
B

8
A

7
G

6
G

10 11 3
B C E

2
E

9
B

8
A

0
C

1
D

5
F

4
F

6
G

5
F

9
B

1
D

8
A

7
G

11 0
C C

4
F

3
E

10 2
B E

2
E

1
D

5
F

6
G

10 9
B B

4
F

3
E

7
G

8
A

0
C

11
C

3
E

2
E

6
G

7
G

11 10 5
C B F

4
F

8
A

9
B

1
D

0
C

Problem 4: Canti di liberazioni No. 2 Dallapiccola

Assume that this is the R7 form of the set. Write the P form in the second staff. Remember,
the reference pitch is the last note of all R and RI forms of a set.

Problem 5: Three Songs, Op. 25 Webern

Assume this is the P form of the set. Write the RI2 form of the set in the second staff.
Remember, the reference pitch is the last note of all R and RI forms of a set.

Problem 6: Quartet 4, Op. 37 Schoenberg

Assume that this is the P form of the set. Write the I5 form of the set in the second staff.

Solution 4: Canti di liberazioni No. 2 Dallapiccola

Solution 5: Webern: Three Songs, Op. 25

Solution 6: Schoenberg: Quartet 4, Op. 37

Matriz 12x12