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In music, a tone row or note row ( or Tonreihe), also series or set, is a non-repetitive ordering of a set of , typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found.
A tone row has been identified in the A-minor prelude, BWV 889, from Book II of J.S. Bach's The Well-Tempered Clavier (1742). "Discovery Reveals Bach's Postmodern Side". Weekend Edition Sunday, NPR, 6 September 2009. It is also found in works such as Mozart's String Quartet in C, K. 157 (1772), String Quartet in E, K. 428, String Quintet in G minor, K. 516 (1790), and the Symphony No. 40, K. 550 (1788). A passage from Symphony No. 40 is shown below in which every tone in the chromatic scale is played except for G (the tonic):
Beethoven also used the technique but, on the whole, "Mozart seems to have employed serial technique far more often than Beethoven". Franz Liszt used a twelve-tone row in the opening of his Faust Symphony. Hans Keller claims that Schoenberg was aware of this serial practice in the classical period and that "Schoenberg repressed his knowledge of classical serialism because it would have injured his narcissism."
A twelve-tone composition will take one or more tone rows, called the "prime form", as its basis plus their transformations (inversion, retrograde, retrograde inversion, as well as transposition). These forms may be used to construct a melody in a straightforward manner as in the fifth movement from Schoenberg's Piano Suite, Op. 25, where P-0 is used to construct the opening melody and later varied through transposition, as P-6, and also in articulation and dynamics. It is then varied again through inversion, untransposed, taking form I-0. However, rows may be combined to produce melodies or harmonies in more complicated ways, such as taking successive or multiple pitches of a melody from two different row forms.'s Variations for Orchestra, Op. 31, "Called mirror forms because... they are identical".. Italics original.
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Initially, Schoenberg required the avoidance of suggestions of tonality—such as the use of consecutive imperfect consonances (thirds or sixths)—when constructing tone rows, reserving such use for the time when the dissonance is completely emancipated. Alban Berg, however, sometimes incorporated tonal elements into his twelve-tone works. The main tone row of his Violin Concerto hints at this tonality:
\set Score.proportionalNotationDuration = #(ly:make-moment 3/2)
\relative c' {
\time 12/1
\set Score.tempoHideNote = ##t \tempo 1 = 60
g1 bes d fis a c e gis b cis ees f
}
}
This tone row consists of alternating minor and major triads starting on the open strings of the violin, followed by a portion of an ascending whole-tone scale. This whole-tone scale reappears in the second movement when the chorale "Es ist genug" ("It is enough") from J.S. Bach's cantata O Ewigkeit, du Donnerwort, BWV 60 is quoted literally in the woodwinds (mostly clarinet).
Some tone rows have a high degree of internal organization. An example is the tone row from Anton Webern's Concerto for Nine Instruments Op. 24, shown below.
\set Score.proportionalNotationDuration = #(ly:make-moment 3/2)
\relative c'' {
\time 3/1
\set Score.tempoHideNote = ##t \tempo 1 = 60
b1 bes d
es, g fis
aes e f
c' cis a
}
}
In this tone row, if the first three notes are regarded as the "original" cell, then the next three are its retrograde inversion, the next three are retrograde, and the last three are its inversion. A row created in this manner, through variants of a trichord or tetrachord called the generator, is called a derived row.
The tone rows of many of Webern's other late works are similarly intricate. The tone row for Webern's String Quartet, Op. 28 is based on the BACH motif (B, A, C, B) and is composed of three :
\set Score.proportionalNotationDuration = #(ly:make-moment 3/2)
\relative c'' {
\time 4/1
\set Score.tempoHideNote = ##t \tempo 1 = 60
bes1 a c b!
dis e cis d
ges, f aes g
}
}
The "set-complex" is the forty-eight forms of the set generated by stating each "aspect" or transformation on each pitch class.
The all-interval twelve-tone row is a tone row arranged so that it contains one instance of each interval within the octave, 0 through 11.
The "total chromatic" (or "aggregate") is the set of all twelve . An "array" is a succession of aggregates. The term is also used to refer to lattices.
An aggregate may be achieved through complementation or combinatoriality, such as with .
A "secondary set" is a tone row which is derived from or, "results from the reversed coupling of hexachords", when a given row form is immediately repeated. For example, the row form consisting of two hexachords:
0 1 2 3 4 5 / 6 7 8 9 t e
when repeated immediately results in the following succession of two aggregates, in the middle of which is a new and complete aggregate beginning with the second hexachord:
0 1 2 3 4 5 / 6 7 8 9 t e / 0 1 2 3 4 5 / 6 7 8 9 t e
secondary set: [6 7 8 9 t e / 0 1 2 3 4 5]
A "weighted aggregate" is an aggregate in which the twelfth pitch does not appear until at least one pitch has appeared at least twice, supplied by segments of different set forms. It seems to have been first used in Milton Babbitt's String Quartet No. 4. An aggregate may be vertically or horizontally weighted. An "all-partition array" is created by combining a collection of hexachordally combinatorial arrays.Evan Allan Jones, Intimate Voices: The Twentieth-Century String Quartet. Volume 2: Shostakovich to the Avant-garde. Dmitri Shostakovich: The String Quartets (Rochester: University of Rochester Press, 2009): 228. .
Igor Stravinsky used a five-tone row, chromatically filling out the space of a major third centered tonally on C (C–E), in one of his early serial compositions, In memoriam Dylan Thomas.
\set Score.proportionalNotationDuration = #(ly:make-moment 3/2)
\relative c'' {
\time 5/1
\set Score.tempoHideNote = ##t \tempo 1 = 60
e1 es c cis d
}
}
In his twelve-tone practice, Stravinsky preferred the inverse-retrograde (IR) to the retrograde-inverse (RI),Claudio Spies, "Notes on Stravinsky's Abraham and Isaac", Perspectives of New Music 3, no. 2 (Spring–Summer 1965): 104–126, citation on 118.Joseph N. Strauss, "Stravinsky's Serial 'Mistakes, The Journal of Musicology 17, no. 2 (Spring 1999): 231–271, citation on 242. as for example in his Requiem Canticles:
Ben Johnston uses a "just tone row" (see just intonation) in works including String Quartets Nos. 6 and 7. Each permutation contains a just chromatic scale, however, transformations (transposition and inversion) produce pitches outside of the primary row form, as already occurs in the inversion of P0. The pitches of each hexachord are drawn from different otonality or utonality on A+ utonality, C otonality and utonality, and E- otonality, outlining a diminished triad.
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