List of tone rows and series

This is a list of tone rows and series. For a list of unordered collections, see set (music), Forte number, list of pitch-class sets, and trope (music).

Twelve tone rows

Row form	Integers	Interval classes	Notation	Composer: Composition	Year	Hexa-chord I	Hexa-chord II	Derivation/ Combina-toriality
P:	0 1 2 e t 9 5 4 3 6 7 8	1 1 3 1 1 4 1 1 3 1 1		Anton Webern: Op. 32, later row[1]	un- finished	6-1	6-1	—
I:	0 e t 1 2 3 7 8 9 6 5 4	1 1 3 1 1 4 1 1 3 1 1		Anton Webern: Op. 32, later row[1]	un- finished	6-1	6-1	—
P:	0 1 3 5 6 2 4 8 7 9 e t	1 2 2 1 4 2 4 1 2 2 1		Igor Stravinsky: Abraham & Isaac[2][3]	1963	6-Z3	6-Z36	—
I:	0 e 9 7 6 t 8 4 5 3 1 2	1 2 2 1 4 2 4 1 2 2 1		Igor Stravinsky: Abraham & Isaac[2][3]	1963	6-Z3	6-Z36	—
P:	0 1 3 6 7 9 8 t e 2 4 5	1 2 3 1 2 1 2 1 3 2 1		Arnold Schoenberg: Serenade, op. 24, mov. 5[4]	1920–23	6-30	6-30	derived: 3-3
I:	0 e 9 6 5 3 4 2 1 t 8 7	1 2 3 1 2 1 2 1 3 2 1		Arnold Schoenberg: Serenade, op. 24, mov. 5[4]	1920–23	6-30	6-30	derived: 3-3
P:	0 1 3 8 4 9 t 7 6 5 e 2	1 2 5 4 5 1 3 1 1 6 3	Play	Alban Berg: Kammerkonzert[5]	1923–25	6-Z19	6-Z44	cryptogram: "Schoenberg"
I:	0 e 9 4 8 3 2 5 6 7 1 t	1 2 5 4 5 1 3 1 1 6 3	Play	Alban Berg: Kammerkonzert[5]	1923–25	6-Z19	6-Z44	cryptogram: "Schoenberg"
P:	0 1 3 9 2 e 4 t 7 8 5 6	1 2 6 5 3 5 6 3 1 3 1		Arnold Schoenberg: Suite for Piano, op. 25[6][7][8][9]	1921–23	6-2	6-2	—
I:	0 e 9 3 t 1 8 2 5 4 7 6	1 2 6 5 3 5 6 3 1 3 1		Arnold Schoenberg: Suite for Piano, op. 25[6][7][8][9]	1921–23	6-2	6-2	—
P:	0 1 4 2 9 5 e 3 8 t 7 6	1 3 2 5 4 6 4 5 2 3 1		Pohlman Mallalieu[10][11] Robert Morris: Not Lilacs[10]	n.a. 1973	6-14	6-14	all-interval, RT6-invariant
I:	0 e 8 t 3 7 1 9 4 2 5 6	1 3 2 5 4 6 4 5 2 3 1		Pohlman Mallalieu[10][11] Robert Morris: Not Lilacs[10]	n.a. 1973	6-14	6-14	all-interval, RT6-invariant
P:	0 1 4 3 2 5 6 9 8 7 t e	1 3 1 1 3 1 3 1 1 3 1	Play	Anton Webern: Variations for Orchestra, Op. 30[12][3][13]	1940	6-1	6-1	all- combinatorial
I:	0 e 8 9 t 7 6 3 4 5 2 1	1 3 1 1 3 1 3 1 1 3 1	Play	Anton Webern: Variations for Orchestra, Op. 30[12][3][13]	1940	6-1	6-1	all- combinatorial
P:	0 1 4 3 2 5 6 9 8 e t 7	1 3 1 1 3 1 3 1 3 1 3		Igor Stravinsky: Agon, "Pas de deux", "Four trios"[2][14]	1957	6-1	6-1	all- combinatorial
I:	0 e 8 9 t 7 6 3 4 1 2 5	1 3 1 1 3 1 3 1 3 1 3		Igor Stravinsky: Agon, "Pas de deux", "Four trios"[2][14]	1957	6-1	6-1	all- combinatorial
P:	0 1 4 3 7 6 e 2 t 9 5 8	1 3 1 4 1 5 3 4 1 4 3		Arnold Schoenberg: Die Jakobsleiter[15]	un- finished	6-Z13	6-Z42	—
I:	0 e 8 9 5 6 1 t 2 3 7 4	1 3 1 4 1 5 3 4 1 4 3		Arnold Schoenberg: Die Jakobsleiter[15]	un- finished	6-Z13	6-Z42	—
P:	0 1 4 5 8 7 6 3 2 7 e t	1 3 1 3 1 1 3 1 5 4 1		Walter Piston: Symphony No. 8 (first movement)[16]	1965	6-Z19	6-Z44	—
I:	0 e 8 7 4 5 6 9 t 5 1 2	1 3 1 3 1 1 3 1 5 4 1		Walter Piston: Symphony No. 8 (first movement)[16]	1965	6-Z19	6-Z44	—
P:	0 1 4 5 7 6 8 9 t e 2 3	1 3 1 2 1 2 1 1 1 3 1		Roger Reynolds: Ambages[17]	1965	6-5	6-5	—
I:	0 1 4 5 7 6 8 9 t e 2 3	1 3 1 2 1 2 1 1 1 3 1		Roger Reynolds: Ambages[17]	1965	6-5	6-5	—
P:	0 1 4 6 8 t 5 7 9 e 2 3	1 3 2 2 2 5 2 2 2 3 1		Ernst Krenek: Lamentatio Jeremiae Prophetae, Op. 93, row 3[18]	1940–41	6-34	6-34	RI-symmetry
I:	0 e 8 6 4 2 7 5 3 1 t 9	1 3 2 2 2 5 2 2 2 3 1			1940–41	6-34	6-34	RI-symmetry
P:	0 1 4 9 5 8 3 t 2 e 6 7	1 3 5 4 3 5 5 4 3 5 1		Milton Babbitt: Composition for Twelve Instruments[3][19]	1948	6-20	6-20	dyadic, tri-, tetra-, and hexa- chordal combina- toriality
I:	0 e 8 3 7 4 9 2 t 1 6 5	1 3 5 4 3 5 5 4 3 5 1		Milton Babbitt: Composition for Twelve Instruments[3][19]	1948	6-20	6-20	dyadic, tri-, tetra-, and hexa- chordal combina- toriality
P:	0 1 5 2 6 t 3 8 9 4 7 e	1 4 3 4 4 5 5 1 5 3 4		Edison Denisov: Fünf Geschichten von Herrn Keuner[20]	1966	6-Z43	6-Z17	all-trichord hexachord
I:	0 e 7 t 6 2 9 4 3 8 5 1	1 4 3 4 4 5 5 1 5 3 4		Edison Denisov: Fünf Geschichten von Herrn Keuner[20]	1966	6-Z43	6-Z17	all-trichord hexachord
P:	0 1 5 8 t 4 3 7 9 2 e 6	1 4 3 2 6 1 4 2 5 3 5		Luigi Dallapiccola: Quaderno musicale di Annalibera[21] Variazioni per orchestra Canti di Liberazione[22]	1952 1954 1951–55	6-31	6-31	—
I:	0 e 7 4 2 8 9 5 3 t 1 6	1 4 3 2 6 1 4 2 5 3 5			1952 1954 1951–55	6-31	6-31	—
P:	0 1 6 2 7 9 3 4 t e 5 8	1 5 4 5 2 6 1 6 1 6 3		Arnold Schoenberg: Violin Concerto, op. 36[23]	1936	6-Z50	6-Z29	—
I:	0 e 6 t 5 3 9 8 2 1 7 4	1 5 4 5 2 6 1 6 1 6 3		Arnold Schoenberg: Violin Concerto, op. 36[23]	1936	6-Z50	6-Z29	—
P:	0 1 6 2 t 9 4 7 3 8 e 5	1 5 4 4 1 5 3 4 5 3 6		Arnold Schoenberg: A Survivor from Warsaw[24][25]	1947	6-15	6-15	—
I:	0 e 6 t 2 3 8 5 9 4 1 7	1 5 4 4 1 5 3 4 5 3 6		Arnold Schoenberg: A Survivor from Warsaw[24][25]	1947	6-15	6-15	—
P:	0 1 6 5 7 e 2 t 3 9 8 4	1 5 1 2 4 3 4 5 6 1 4		Milton Babbitt: All Set[26]	1957	6-7	6-7	second-order all- combinatorial hexachord
I:	0 e 6 7 5 1 t 2 9 3 4 8	1 5 1 2 4 3 4 5 6 1 4		Milton Babbitt: All Set[26]	1957	6-7	6-7	second-order all- combinatorial hexachord
P:	0 1 7 2 3 9 t 8 6 5 e 4	1 6 5 1 6 1 2 2 1 6 5		Edison Denisov: Viola concerto[27]	1986	6-Z41	6-Z12	—
I:	0 e 5 t 9 3 2 4 6 7 1 8	1 6 5 1 6 1 2 2 1 6 5		Edison Denisov: Viola concerto[27]	1986	6-Z41	6-Z12	—
P:	0 1 7 5 6 4 t 8 9 e 2 3	1 6 2 1 2 6 2 1 2 3 1	Play	Arnold Schoenberg: Moses und Aron[24]	un- finished	6-5	6-5	inversional
I:	0 e 5 7 6 8 2 4 3 1 t 9	1 6 2 1 2 6 2 1 2 3 1	Play	Arnold Schoenberg: Moses und Aron[24]	un- finished	6-5	6-5	inversional
P:	0 1 7 5 6 e 9 8 t 3 4 2	1 6 2 1 5 2 1 2 5 1 2		Igor Stravinsky: Movements[2]	1958–59	6-7	6-7	—
I:	0 e 5 7 6 1 3 4 2 9 8 t	1 6 2 1 5 2 1 2 5 1 2		Igor Stravinsky: Movements[2]	1958–59	6-7	6-7	—
P:	0 1 7 6 8 9 3 2 4 5 e t	1 6 1 2 1 6 1 2 1 6 1		Alberto Ginastera: Don Rodrigo, Act I, op. 31[28]	1963–64	6-5	6-5	—
I:	0 e 5 6 4 3 9 t 8 7 1 2	1 6 1 2 1 6 1 2 1 6 1		Alberto Ginastera: Don Rodrigo, Act I, op. 31[28]	1963–64	6-5	6-5	—
P:	0 1 7 9 8 6 3 t 2 5 e 4	1 6 2 1 2 3 5 4 3 6 5		Karlheinz Stockhausen: Plus-Minus[29]	1963 (rev. 1974)	6-5	6-5	—
I:	0 e 5 3 4 6 9 2 t 7 1 8	1 6 2 1 2 3 5 4 3 6 5		Karlheinz Stockhausen: Plus-Minus[29]	1963 (rev. 1974)	6-5	6-5	—
P:	0 1 7 e 8 2 6 5 t 9 3 4	1 6 4 3 6 4 1 5 1 6 1	Play	Schoenberg: "Tot" ["Lifeless"], Drei Lieder, Op. 48[30]	1933	6-5	6-5	—
I:	0 e 5 1 4 t 6 7 2 3 9 8	1 6 4 3 6 4 1 5 1 6 1	Play	Schoenberg: "Tot" ["Lifeless"], Drei Lieder, Op. 48[30]	1933	6-5	6-5	—
P:	0 1 8 e 7 3 2 5 4 t 9 6	1 5 3 4 4 1 3 1 6 1 3		Karlheinz Stockhausen: Zeitmaße[31][32]	1955–56	6-16	6-16	—
I:	0 e 4 1 5 9 t 7 8 2 3 6	1 5 3 4 4 1 3 1 6 1 3		Karlheinz Stockhausen: Zeitmaße[31][32]	1955–56	6-16	6-16	—
P:	0 1 9 e 3 2 6 7 t 8 4 5	1 4 2 4 1 4 1 3 2 4 1		Anton Webern: Op. 32, row 1[33]	un- finished	6-2	6-2	—
I:	0 e 3 1 9 t 6 5 2 4 8 7	1 4 2 4 1 4 1 3 2 4 1		Anton Webern: Op. 32, row 1[33]	un- finished	6-2	6-2	—
P:	0 1 9 e 3 2 7 6 t 8 4 5	1 4 2 4 1 5 1 4 2 4 1		Anton Webern: Op. 32, row 2[33]	un- finished	6-1	6-1	all- combinatorial
I:	0 e 3 1 9 t 5 6 2 4 8 7	1 4 2 4 1 5 1 4 2 4 1		Anton Webern: Op. 32, row 2[33]	un- finished	6-1	6-1	all- combinatorial
P:	0 1 9 e 8 t 4 5 6 2 3 7	1 4 2 3 2 6 1 1 4 1 4	Play	Anton Webern: Variations for piano, mov. II, op. 27[34][35]	1936	6-1	6-1	all- combinatorial
I:	0 e 3 1 4 2 8 7 6 t 9 5	1 4 2 3 2 6 1 1 4 1 4	Play	Anton Webern: Variations for piano, mov. II, op. 27[34][35]	1936	6-1	6-1	all- combinatorial
P:	0 1 9 e t 7 8 3 4 6 5 2	1 4 2 1 3 1 5 1 2 1 3		Igor Stravinsky: A Sermon, a Narrative and a Prayer[2]	1961	6-2	6-2	—
I:	0 e 3 1 2 5 4 9 8 6 7 t	1 4 2 1 3 1 5 1 2 1 3		Igor Stravinsky: A Sermon, a Narrative and a Prayer[2]	1961	6-2	6-2	—
P:	0 1 t 2 6 4 5 3 7 e 8 9	1 3 4 4 2 1 2 4 4 3 1		Luigi Dallapiccola: Dialoghi[36]		6-21	6-21	RI-invariant: P0 = RI9
I:	0 e 2 t 6 8 7 9 5 1 4 3	1 3 4 4 2 1 2 4 4 3 1		Luigi Dallapiccola: Dialoghi[36]		6-21	6-21	RI-invariant: P0 = RI9
P:	0 1 t 3 4 6 8 9 e 5 7 2	1 3 5 1 2 2 1 2 6 2 5		Chen Yi: Near Distance[3][37]	1988	6-Z23	6-Z45	—
I:	0 e 2 9 8 6 4 3 1 7 5 t	1 3 5 1 2 2 1 2 6 2 5		Chen Yi: Near Distance[3][37]	1988	6-Z23	6-Z45	—
P:	0 1 e 2 t 3 9 4 8 5 7 6	1 2 3 4 5 6 5 4 3 2 1	Play	Luigi Nono: Canti per tredeci Il canto sospeso[15][38][39] Composizione per orchestra n. 2: Diario polacco ’58	1955 1955–56 1959	6-1	6-1	symmetrical all-interval row; all- combinatorial
I:	0 e 1 t 2 9 3 8 4 7 5 6	1 2 3 4 5 6 5 4 3 2 1	Play	Nicolas Slonimsky: Grandmother chord[40]	1938	6-1	6-1	symmetrical all-interval row; all- combinatorial
P:	0 2 1 3 8 7 5 6 4 e 9 t	2 1 2 5 1 2 1 2 5 2 1		Joonas Kokkonen: Symphonic Sketches, mov. 3, row A[41]	1968	6-Z38	6-Z6	—
I:	0 t e 9 4 5 7 6 8 1 3 2	2 1 2 5 1 2 1 2 5 2 1		Joonas Kokkonen: Symphonic Sketches, mov. 3, row A[41]	1968	6-Z38	6-Z6	—
P:	0 2 1 3 4 6 7 9 8 t 5 e	2 1 2 1 2 1 2 1 2 5 6		Igor Stravinsky: Agon, second coda[42][43]	1957	6-2	6-2	—
I:	0 t e 9 8 6 5 3 4 2 7 1	2 1 2 1 2 1 2 1 2 5 6		Igor Stravinsky: coda[44]	1957	6-2	6-2	—
P:	0 2 1 3 4 6 7 9 8 t 5 e	2 1 2 1 2 1 2 1 2 5 6		Igor Stravinsky: The Flood[2]	1962	6-Z12	6-Z41	—
I:	0 t e 5 2 4 3 1 9 8 6 7	2 1 2 1 2 1 2 1 2 5 6		Igor Stravinsky: The Flood[2]	1962	6-Z12	6-Z41	—
P:	0 2 1 3 4 6 7 9 8 t 5 e	2 1 2 1 2 1 2 1 2 5 6		Luigi Dallapiccola: Requiescant[36]		6-5	6-5	RI-invariant: P0 = RI5
I:	0 t e 5 1 4 3 6 2 8 9 7	2 1 2 1 2 1 2 1 2 5 6		Luigi Dallapiccola: Requiescant[36]		6-5	6-5	RI-invariant: P0 = RI5
P:	0 2 1 3 4 6 7 9 8 t 5 e	2 1 2 1 2 1 2 1 2 5 6		Alfred Schnittke: String Quartet No. 1[3]	1966	6-1	6-1	all- combinatorial
I:	0 t e 2 9 1 7 3 8 5 4 6	2 1 2 1 2 1 2 1 2 5 6		Alfred Schnittke: String Quartet No. 1[3]	1966	6-1	6-1	all- combinatorial
P:	0 2 3 1 4 5 6 7 8 9 e t	2 1 2 3 1 1 1 1 1 2 1		Alban Berg: Lulu, Schigolch[24][45]	1934	6-1	6-1	all- combinatorial, derived: 4–1
I:	0 t 9 e 8 7 6 5 4 3 1 2	2 1 2 3 1 1 1 1 1 2 1		Alban Berg: Lulu, Schigolch[24][45]	1934	6-1	6-1	all- combinatorial, derived: 4–1
P:	0 2 3 5 4 9 7 8 t e 1 6	2 1 2 1 5 2 1 2 1 2 5		Igor Stravinsky: Agon, "Bransles"[44]	1957	6-Z40	6-Z11	—
I:	0 t 9 7 8 3 5 4 2 1 e 6	2 1 2 1 5 2 1 2 1 2 5		Igor Stravinsky: Agon, "Bransles"[44]	1957	6-Z40	6-Z11	—
P:	0 2 3 5 7 8 e 4 6 t 8 1	2 1 2 2 1 3 5 2 4 2 5	Play	Alban Berg: "Der Wein"[46]	1929	6-16	6-16	D harmonic minor & in the inverted row-form added-sixth chord with both major and minor third
I:	0 t 9 7 5 4 1 8 6 2 4 e	2 1 2 2 1 3 5 2 4 2 5	Play	Alban Berg: "Der Wein"[46]	1929	6-16	6-16
P:	0 2 3 6 8 t 5 7 9 e 1 4	2 1 3 2 2 5 2 2 2 2 3		Ernst Krenek: Lamentatio Jeremiae Prophetae, Op. 93, row 2[18]	1940–41	6-34	6-34	RI-symmetry
I:	0 t 9 6 4 2 7 5 3 1 e 8	2 1 3 2 2 5 2 2 2 2 3			1940–41	6-34	6-34	RI-symmetry
P:	0 2 4 5 8 t 6 7 9 e 1 3	2 2 1 3 2 4 1 2 2 2 2		Ernst Krenek: Lamentatio Jeremiae Prophetae, Op. 93, row 1[18]	1940–41	6-34	6-34	RI-symmetry
I:	0 t 8 7 4 2 6 5 3 1 e 9	2 2 1 3 2 4 1 2 2 2 2			1940–41	6-34	6-34	RI-symmetry
P:	0 2 4 6 7 t 5 8 9 e 1 3	2 2 2 1 3 5 3 1 2 2 2		Ernst Krenek: Lamentatio Jeremiae Prophetae, Op. 93, row 6[18]	1940–41	6-34	6-34	RI-symmetry
I:	0 t 8 6 5 2 7 4 3 1 e 9	2 2 2 1 3 5 3 1 2 2 2			1940–41	6-34	6-34	RI-symmetry
P:	0 2 4 6 8 9 5 7 t e 1 3	2 2 2 2 1 4 2 3 1 2 2		Ernst Krenek: Lamentatio Jeremiae Prophetae, Op. 93, row 5[18]	1940–41	6-34	6-34	RI-symmetry
I:	0 t 8 6 4 3 7 5 2 1 e 9	2 2 2 2 1 4 2 3 1 2 2			1940–41	6-34	6-34	RI-symmetry
P:	0 2 4 6 t 8 e 7 9 1 3 5	2 2 2 4 2 3 4 2 4 2 2		Alban Berg: Lulu[24]	1934	6-35	6-35	—
I:	0 t 8 6 2 4 1 5 3 e 9 7	2 2 2 4 2 3 4 2 4 2 2		Alban Berg: Lulu[24]	1934	6-35	6-35	—
P:	0 2 5 3 t 4 6 1 e 7 8 9	2 3 2 5 6 2 5 2 4 1 1		Igor Stravinsky: Variations[47][2][3][48][49][50][51][52]	1963–64	6-9	6-9	—
I:	0 t 7 9 2 8 6 e 1 5 4 3	2 3 2 5 6 2 5 2 4 1 1		Igor Stravinsky: Variations[47][2][3][48][49][50][51][52]	1963–64	6-9	6-9	—
P:	0 2 6 4 t 9 7 e 8 5 1 3	2 4 2 6 1 2 4 3 3 4 2		Arnold Schoenberg: Piano Piece [Klavierstück], op. 33b[24]	1931	6-34	6-34	—
I:	0 t 6 8 2 3 5 1 4 7 e 9	2 4 2 6 1 2 4 3 3 4 2		Arnold Schoenberg: Piano Piece [Klavierstück], op. 33b[24]	1931	6-34	6-34	—
P:	0 2 6 t 4 7 8 3 5 9 e 1	2 4 4 6 3 1 5 2 4 2 2	Play	Alban Berg: Lulu, Schoolboy[45][53][54]	1934	6-34	6-34	—
I:	0 t 6 2 8 5 4 9 7 3 1 e	2 4 4 6 3 1 5 2 4 2 2	Play	Alban Berg: Lulu, Schoolboy[45][53][54]	1934	6-34	6-34	—
P:	0 2 9 e 8 6 5 7 t 1 4 3	2 5 2 3 2 1 2 3 3 3 1		Igor Stravinsky: The Owl and the Pussy Cat[2]	1966	6-Z23	6-Z45	—
I:	0 t 3 1 4 6 7 5 2 e 8 9	2 5 2 3 2 1 2 3 3 3 1		Igor Stravinsky: The Owl and the Pussy Cat[2]	1966	6-Z23	6-Z45	—
P:	0 7 6 5 8 9 4 3 t e 2 1	5 1 1 3 1 5 1 5 1 3 1		Karel Goeyvaerts: Nummer 2[55]	1951	6-Z36	6-Z3	—
I:	0 5 6 7 4 3 8 9 2 1 t e	5 1 1 3 1 5 1 5 1 3 1		Karel Goeyvaerts: Nummer 2[55]	1951	6-Z36	6-Z3	—
P:	0 2 t e 1 8 6 7 9 4 3 5	2 4 1 2 5 2 1 2 5 1 2	Play P	Igor Stravinsky: Requiem Canticles, 1st series[2]	1966	6-2	6-2	—
I:	0 t 2 1 e 4 6 5 3 8 9 7	2 4 1 2 5 2 1 2 5 1 2	Play P	Igor Stravinsky: Requiem Canticles, 1st series[2]	1966	6-2	6-2	—
P:	0 2 e 9 t 1 3 6 4 5 7 8	2 3 2 1 3 2 3 2 1 2 1		Joonas Kokkonen: Woodwind Quintet, mov. 1 & 2, row A & B[41]	1973	6-1	6-1	all- combinatorial
I:	0 t 1 3 2 e 9 6 8 7 5 4	2 3 2 1 3 2 3 2 1 2 1			1973	6-1	6-1	all- combinatorial
P:	0 2 e 9 t 4 3 7 5 6 8 1	2 3 2 1 6 1 4 2 1 2 5		Arnold Schoenberg: Dreimal Tausend Jahre, Op. 50a[3]	1949	6-9	6-9	—
I:	0 t 1 3 2 8 9 5 7 6 4 e	2 3 2 1 6 1 4 2 1 2 5		Arnold Schoenberg: Dreimal Tausend Jahre, Op. 50a[3]	1949	6-9	6-9	—
P:	0 3 1 2 4 7 5 6 8 e 9 t	3 2 1 2 3 2 1 2 3 2 1		Arvo Pärt: Symphony No. 2[56]	1966	6-Z36	6-Z3	derived: 4–1
I:	0 9 e t 8 5 7 6 4 1 3 2	3 2 1 2 3 2 1 2 3 2 1		Arvo Pärt: Symphony No. 2[56]	1966	6-Z36	6-Z3	derived: 4–1
P:	0 3 1 2 e t 8 9 5 7 6 4	3 2 1 3 1 2 1 4 2 1 2		Milton Babbitt: Woodwind Quartet[57]	1953	6-1	6-1	—
I:	0 9 e t 1 2 4 3 7 5 6 8	3 2 1 3 1 2 1 4 2 1 2		Milton Babbitt: Woodwind Quartet[57]	1953	6-1	6-1	—
P:	0 3 1 6 2 4 t 5 9 7 8 e	3 2 5 4 2 6 5 4 2 1 3		Ernst Krenek: Sechs Vermessene, Op. 168[58]	1958	6-2	6-2	—
I:	0 9 e 6 t 8 2 7 3 5 4 1	3 2 5 4 2 6 5 4 2 1 3		Ernst Krenek: Sechs Vermessene, Op. 168[58]	1958	6-2	6-2	—
P:	0 3 1 6 2 t 9 8 e 7 5 4	3 2 5 4 4 1 1 3 4 2 1		Ernst Krenek: Karl V[59][60]	1938	6-Z39	6-Z10	—
I:	0 9 e 6 t 2 3 4 1 5 7 8	3 2 5 4 4 1 1 3 4 2 1		Ernst Krenek: Karl V[59][60]	1938	6-Z39	6-Z10	—
P:	0 3 1 t 2 8 e 5 6 9 7 4	3 2 3 4 6 3 6 1 3 2 3		Donald Martino: Fantasy Variations[61]	1962	6-9	6-9	—
I:	0 9 e 2 t 4 1 7 6 3 5 8	3 2 3 4 6 3 6 1 3 2 3		Donald Martino: Fantasy Variations[61]	1962	6-9	6-9	—
P:	0 3 2 1 4 8 e 5 t 7 6 9	3 1 1 3 4 3 6 5 3 1 3		Benjamin Frankel: The Curse of the Werewolf[62]	1961	6-Z37	6-Z4	—
I:	0 9 t e 8 4 1 7 2 5 6 3	3 1 1 3 4 3 6 5 3 1 3		Benjamin Frankel: The Curse of the Werewolf[62]	1961	6-Z37	6-Z4	—
P:	0 3 2 9 7 8 e 6 1 5 4 t	3 1 5 2 1 3 5 5 4 1 6		Karlheinz Stockhausen: "Aries", from Tierkreis[63]	1974–75	6-18	6-18	—
I:	0 9 t 3 5 4 1 6 e 7 8 2	3 1 5 2 1 3 5 5 4 1 6		Karlheinz Stockhausen: "Aries", from Tierkreis[63]	1974–75	6-18	6-18	—
P:	0 3 2 1 5 4 t e 7 8 9 6	3 1 1 4 1 6 1 4 1 1 3		Anton Webern: Symphony, Op. 21[4][64]	1928	6-1	6-1	all- combinatorial
I:	0 9 t e 7 8 2 1 5 4 3 6	3 1 1 4 1 6 1 4 1 1 3		Anton Webern: Symphony, Op. 21[4][64]	1928	6-1	6-1	all- combinatorial
P:	0 3 4 6 e 8 7 t 9 5 1 2	3 1 2 5 3 1 3 1 4 4 1		Igor Stravinsky: Agon, "Mystery" (sketches only)[65]	1957	6-31	6-31	—
I:	0 9 8 6 1 4 5 2 3 7 e t	3 1 2 5 3 1 3 1 4 4 1		Igor Stravinsky: Agon, "Mystery" (sketches only)[65]	1957	6-31	6-31	—
P:	0 3 5 1 2 6 4 e 7 8 e 9	3 2 4 1 4 2 5 4 1 3 2		Karlheinz Stockhausen: Klavierstück IV (second row of 48)[66]	1952	6-Z3	6-Z36	—
I:	0 9 7 e t 6 8 1 5 4 1 3	3 2 4 1 4 2 5 4 1 3 2			1952	6-Z3	6-Z36	—
P:	0 3 5 4 e t 9 8 7 6 2 1	3 2 1 5 1 1 1 1 1 4 1		Karlheinz Stockhausen: "Aquarius", from Tierkreis[63]	1974–75	6-Z6	6-Z38	—
I:	0 9 7 8 1 2 3 4 5 6 t e	3 2 1 5 1 1 1 1 1 4 1		Karlheinz Stockhausen: "Aquarius", from Tierkreis[63]	1974–75	6-Z6	6-Z38	—
P:	0 3 5 7 9 e 6 8 t 1 2 4	3 2 2 2 2 5 2 2 3 1 2		Ernst Krenek: Lamentatio Jeremiae Prophetae, Op. 93, row 4[18]	1940–41	6-34	6-34	RI-symmetry
I:	0 9 7 5 3 1 6 4 2 e t 8	3 2 2 2 2 5 2 2 3 1 2			1940–41	6-34	6-34	RI-symmetry
P:	0 3 7 e 2 5 9 1 4 6 8 t	3 4 4 3 3 4 4 3 2 2 2	Play	Alban Berg: Violin Concerto[4][24][67]	1935	6-Z24	6-Z46	—
I:	0 9 5 1 t 7 3 e 8 6 4 2	3 4 4 3 3 4 4 3 2 2 2	Play	Alban Berg: Violin Concerto[4][24][67]	1935	6-Z24	6-Z46	—
P:	0 3 e 2 t 1 9 5 8 4 7 6	3 4 3 4 3 4 4 3 4 3 1		Anton Webern: "Erlösung" from Drei Lieder, Op. 18, No. 2[68]	1910–13	6-1	6-1	all- combinatorial
I:	0 9 1 t 2 e 3 7 4 8 5 6	3 4 3 4 3 4 4 3 4 3 1			1910–13	6-1	6-1	all- combinatorial
P:	0 3 e 4 2 1 7 8 t 5 9 6	3 4 5 2 1 6 1 2 5 4 3		Ernst Krenek: Quaestio temporis, Op. 170[69]	1959	6-1	6-1	all- combinatorial retrograde-symmetry
I:	0 9 1 8 t e 5 4 2 7 3 6	3 4 5 2 1 6 1 2 5 4 3		Ernst Krenek: Quaestio temporis, Op. 170[69]	1959	6-1	6-1	all- combinatorial retrograde-symmetry
P:	0 3 e t 2 9 1 5 4 8 7 6	3 4 1 4 5 4 4 1 4 1 1		Anton Webern: Op. 31[12]	1941–43	6-Z3	6-Z36	—
I:	0 9 1 2 t 3 e 7 8 4 5 6	3 4 1 4 5 4 4 1 4 1 1		Anton Webern: Op. 31[12]	1941–43	6-Z3	6-Z36	—
P:	0 4 1 8 5 9 3 e 2 7 t 6	4 3 5 3 4 6 4 3 5 3 4		Milton Babbitt: Composition for Four Instruments, row iv[26]	1948	6–20	6–20	all- combinatorial hexachord
I:	0 8 e 4 7 3 9 1 t 5 2 6	4 3 5 3 4 6 4 3 5 3 4			1948	6–20	6–20	all- combinatorial hexachord
P:	0 4 1 e 3 2 8 6 5 t 7 9	4 3 2 4 1 6 2 1 5 3 2		Milton Babbitt: Composition for Four Instruments[70]	1948	6–1	6–1	all- combinatorial hexachord
I:	0 8 e 1 9 t 4 6 7 2 5 3	4 3 2 4 1 6 2 1 5 3 2		Milton Babbitt: Composition for Four Instruments[70]	1948	6–1	6–1	all- combinatorial hexachord
P:	0 4 2 5 7 8 t 9 e 1 6 3	4 2 3 2 1 2 1 2 2 5 3		Igor Stravinsky: Anthem[2]	1962	6–33	6–33	—
I:	0 8 t 7 5 4 2 3 1 e 6 9	4 2 3 2 1 2 1 2 2 5 3		Igor Stravinsky: Anthem[2]	1962	6–33	6–33	—
P:	0 4 3 2 5 6 t e 9 1 7 8	4 1 1 3 1 4 1 2 4 6 1		Karlheinz Stockhausen: Licht, Eve formula[71][72]	1977– 2003	6–2	6–2	—
I:	0 8 9 t 7 6 2 1 3 e 5 4	4 1 1 3 1 4 1 2 4 6 1		Karlheinz Stockhausen: Licht, Eve formula[71][72]	1977– 2003	6–2	6–2	—
P:	0 4 3 7 e 8 9 6 5 1 2 t	4 1 4 4 3 1 3 1 4 1 4		Arnold Schoenberg: Ode to Napoleon Buonaparte Suite Op. 29[73] Luigi Nono: Variazioni canoniche sulla serie dell'op. 41 di Arnold Schönberg[74]	1942 1926 1950	6–20	6–20	all- combinatorial
I:	0 8 9 5 1 4 3 6 7 e t 2	4 1 4 4 3 1 3 1 4 1 4			1942 1926 1950	6–20	6–20	all- combinatorial
P:	0 4 3 8 7 e 5 1 2 9 t 6	4 1 5 1 4 6 4 1 5 1 4		Milton Babbitt: Composition for Four Instruments, row iii[26]	1948	6–20	6–20	all- combinatorial hexachord
I:	0 8 9 4 5 1 7 e t 3 2 6	4 1 5 1 4 6 4 1 5 1 4			1948	6–20	6–20	all- combinatorial hexachord
P:	0 4 3 e 7 8 t 9 2 5 1 6	4 1 4 4 1 2 1 5 3 4 5		Karlheinz Stockhausen: "Scorpio", from Tierkreis[63]	1974–75	6–20	6–20	—
I:	0 8 9 1 5 4 2 3 t 7 e 6	4 1 4 4 1 2 1 5 3 4 5		Karlheinz Stockhausen: "Scorpio", from Tierkreis[63]	1974–75	6–20	6–20	—
P:	0 4 3 e t 9 1 7 8 6 2 5	4 1 4 1 1 4 6 1 2 4 3		Ernst Krenek: Suite, Op. 84 for solo cello[75]		6–5	6–5	—
I:	0 8 9 1 2 3 e 5 4 6 t 7	4 1 4 1 1 4 6 1 2 4 3		Ernst Krenek: Suite, Op. 84 for solo cello[75]		6–5	6–5	—
P:	0 4 5 2 6 7 8 9 e t 3 1	4 1 3 4 1 1 1 2 1 5 2		Alban Berg: Lulu[24]	1934	6–9	6–9	—
I:	0 8 7 t 6 5 4 3 1 2 9 e	4 1 3 4 1 1 1 2 1 5 2		Alban Berg: Lulu[24]	1934	6–9	6–9	—
P:	0 4 5 2 7 9 6 8 e t 3 1	4 1 3 5 2 3 2 3 1 5 2	Play	Alban Berg: Lulu, Basic[45][53][54]	1934	6–32	6–32	circle of fifths
I:	0 8 7 t 5 3 6 4 1 2 9 e	4 1 3 5 2 3 2 3 1 5 2	Play	Alban Berg: Lulu, Basic[45][53][54]	1934	6–32	6–32	circle of fifths
P:	0 4 5 e 6 t 7 3 1 2 9 8	4 1 6 5 4 3 4 2 1 5 1		Milton Babbitt: All Set[76][77]	1957	6–7	6–7	second-order all- combinatorial hexachord
I:	0 8 7 1 6 2 5 9 e t 3 4	4 1 6 5 4 3 4 2 1 5 1		Milton Babbitt: All Set[76][77]	1957	6–7	6–7	second-order all- combinatorial hexachord
P:	0 4 5 t 7 6 1 8 e 2 9 3	4 1 5 3 1 5 5 3 3 5 6		Karlheinz Stockhausen: "Gemini", from Tierkreis[63]	1974–75	6-Z41	6-Z12	—
I:	0 8 7 2 5 6 e 4 1 t 3 9	4 1 5 3 1 5 5 3 3 5 6		Karlheinz Stockhausen: "Gemini", from Tierkreis[63]	1974–75	6-Z41	6-Z12	—
P:	0 4 8 9 3 2 t e 7 6 5 1	4 4 1 6 1 4 1 4 1 1 4		Robert Moevs: Three Symphonic Pieces, mov. 2[78]	1954–55	6-Z17	6-Z43	all-trichord hexachord
I:	0 8 4 3 9 t 2 1 5 6 7 e	4 4 1 6 1 4 1 4 1 1 4		Robert Moevs: Three Symphonic Pieces, mov. 2[78]	1954–55	6-Z17	6-Z43	all-trichord hexachord
P:	0 4 t 6 3 8 7 2 5 9 1 e	4 6 4 3 5 1 5 3 4 4 2		Juan Carlos Paz: Canciones y Baladas, Balada II[79]	1936	6–34	6–34	—
I:	0 8 2 6 9 4 5 t 7 3 e 1	4 6 4 3 5 1 5 3 4 4 2		Juan Carlos Paz: Canciones y Baladas, Balada II[79]	1936	6–34	6–34	—
P:	0 5 1 2 3 9 8 t 4 e 6 7	5 4 1 1 6 1 2 6 5 5 1		Alban Berg: Lulu, Chorale[45]	1934	6-Z39	6-Z10	—
I:	0 7 e t 9 3 4 2 8 1 6 5	5 4 1 1 6 1 2 6 5 5 1		Alban Berg: Lulu, Chorale[45]	1934	6-Z39	6-Z10	—
P:	0 5 1 4 2 3 9 8 t 7 e 6	5 4 3 2 1 6 1 2 3 4 5		Michael Gielen: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano[80]	1958	6–1	6–1	retrograde-symmetrical all-interval row, all- combinatorial hexachords
I:	0 7 e 8 t 9 3 4 2 5 1 6	5 4 3 2 1 6 1 2 3 4 5			1958	6–1	6–1
P:	0 5 1 4 t 8 e 9 3 6 2 7	5 4 3 6 2 3 2 6 3 4 5		Alfred Schnittke: Concerto Grosso No. 3[3]	1985	6–31	6–31	—
I:	0 7 e 8 2 4 1 3 9 6 t 5	5 4 3 6 2 3 2 6 3 4 5		Alfred Schnittke: Concerto Grosso No. 3[3]	1985	6–31	6–31	—
P:	0 5 2 7 4 9 6 e 8 1 t 3	5 3 5 3 5 3 5 3 5 3 5		Benjamin Britten: The Turn of the Screw[81]	1954	6–32	6–32	—
I:	0 7 t 5 8 3 6 1 4 e 2 9	5 3 5 3 5 3 5 3 5 3 5		Benjamin Britten: The Turn of the Screw[81]	1954	6–32	6–32	—
P:	0 5 2 7 t 1 e 4 6 8 9 3	5 3 5 3 3 2 5 2 2 1 6		Dmitri Shostakovich: Symphony No. 14, mov. III[82]	1969	6-Z47	6-Z25	—
I:	0 7 t 5 2 e 1 8 6 4 3 9	5 3 5 3 3 2 5 2 2 1 6		Dmitri Shostakovich: Symphony No. 14, mov. III[82]	1969	6-Z47	6-Z25	—
P:	0 5 2 t 1 7 8 6 e 4 9 3	5 3 4 3 6 1 2 5 5 5 6		Alban Berg: Lulu, Countess Geschwitz[24][45][54]	1934	6-Z47	6-Z25	—
I:	0 7 t 2 e 5 4 6 1 8 3 9	5 3 4 3 6 1 2 5 5 5 6		Alban Berg: Lulu, Countess Geschwitz[24][45][54]	1934	6-Z47	6-Z25	—
P:	0 5 4 7 t 6 e 8 1 9 2 3	5 1 3 3 4 5 3 5 4 5 1		Igor Stravinsky: Threni[2]	1958	6-Z41	6-Z12	—
I:	0 7 8 5 2 6 1 4 e 3 t 9	5 1 3 3 4 5 3 5 4 5 1		Igor Stravinsky: Threni[2]	1958	6-Z41	6-Z12	—
P:	0 5 7 4 2 3 9 1 8 e t 6	5 2 3 2 1 6 4 5 3 1 4		Milton Babbitt: Three Compositions for Piano, no. I[83]	1947	6–8	6–8	—
I:	0 7 5 8 t 9 3 e 4 1 2 6	5 2 3 2 1 6 4 5 3 1 4		Milton Babbitt: Three Compositions for Piano, no. I[83]	1947	6–8	6–8	—
P:	0 5 7 6 e 3 4 2 9 8 t 1	5 2 1 5 4 1 2 5 1 2 3		Alban Berg: Lulu, Acrobat/Athlete[24][45][54]	1934	6-Z17	6-Z43	all-trichord hexachord
I:	0 7 5 6 1 9 8 t 3 4 2 e	5 2 1 5 4 1 2 5 1 2 3		Alban Berg: Lulu, Acrobat/Athlete[24][45][54]	1934	6-Z17	6-Z43	all-trichord hexachord
P:	0 5 9 t 4 7 6 e 1 2 8 3	5 4 1 6 3 1 5 2 1 6 5	Play	Alban Berg: Lulu, Dr. Schön[45][53][54]	1934	6-Z25	6-Z47	—
I:	0 7 3 2 8 5 6 1 e t 4 9	5 4 1 6 3 1 5 2 1 6 5	Play	Alban Berg: Lulu, Dr. Schön[45][53][54]	1934	6-Z25	6-Z47	—
P:	0 5 e 6 3 2 8 7 9 t 4 1	5 6 5 3 1 6 1 2 1 6 3		Karlheinz Stockhausen: "Leo", from Tierkreis[63]	1974–75	6Z-13	6-Z42	—
I:	0 7 1 6 9 t 4 5 3 2 8 e	5 6 5 3 1 6 1 2 1 6 3		Karlheinz Stockhausen: "Leo", from Tierkreis[63]	1974–75	6Z-13	6-Z42	—
P:	0 6 4 2 8 9 3 1 e t 7 5	6 2 2 6 1 6 2 2 1 3 2		Igor Stravinsky: Elegy for J.F.K.[2]	1964	6–34	6–34	—
I:	0 6 8 t 4 3 9 e 1 2 5 7	6 2 2 6 1 6 2 2 1 3 2		Igor Stravinsky: Elegy for J.F.K.[2]	1964	6–34	6–34	—
P:	0 6 4 3 2 9 t 5 7 8 e 1	6 2 1 1 5 1 5 2 1 3 2		Karel Husa: Mosaïques[84]	1960	6-Z45	6-Z23	—
I:	0 6 8 9 t 3 2 7 5 4 1 e	6 2 1 1 5 1 5 2 1 3 2		Karel Husa: Mosaïques[84]	1960	6-Z45	6-Z23	—
P:	0 6 5 1 e 7 4 8 9 3 2 t	6 1 4 2 4 3 4 1 6 1 4		Arnold Schoenberg: "De Profundis", Op. 50b[3]	1950	6–7	6–7	—
I:	0 6 7 e 1 5 8 4 3 9 t 2	6 1 4 2 4 3 4 1 6 1 4		Arnold Schoenberg: "De Profundis", Op. 50b[3]	1950	6–7	6–7	—
P:	0 6 5 2 3 4 7 8 9 t e 1	6 1 3 1 1 3 1 1 1 1 2		Karlheinz Stockhausen: "Sagittarius", from Tierkreis[63]	1974–75	6–2	6–2	—
I:	0 6 7 t 9 8 5 4 3 2 1 e	6 1 3 1 1 3 1 1 1 1 2		Karlheinz Stockhausen: "Sagittarius", from Tierkreis[63]	1974–75	6–2	6–2	—
P:	0 6 5 e t 4 3 9 8 2 1 7	6 1 6 1 6 1 6 1 6 1 6		Witold Lutosławski: Musique funèbre (Funeral Music)[85]	1954–58	6–7	6–7	—
I:	0 6 7 1 2 8 9 3 4 t e 5	6 1 6 1 6 1 6 1 6 1 6		Witold Lutosławski: Musique funèbre (Funeral Music)[85]	1954–58	6–7	6–7	—
P:	0 6 7 8 9 1 2 5 e 4 t 3	6 1 1 1 4 1 3 6 5 6 5		Wolfgang Amadeus Mozart: String Quartet in E♭ major, K. 428 first movement, opening of development section[86]		6–5	6–5	—
I:	0 6 5 4 3 e t 7 1 8 2 9	6 1 1 1 4 1 3 6 5 6 5				6–5	6–5	—
P:	0 6 8 5 7 e 4 3 9 t 1 2	6 2 3 2 4 5 1 6 1 3 1	Play	Arnold Schoenberg: Variations, Op. 31[79][87][88]	1926–28	6–5	6–5	Bach motif
I:	0 6 4 7 5 1 8 9 3 2 e t	6 2 3 2 4 5 1 6 1 3 1	Play	Arnold Schoenberg: Variations, Op. 31[79][87][88]	1926–28	6–5	6–5	Bach motif
P:	0 6 8 t 2 4 9 5 3 e 7 1	6 2 2 4 2 5 4 2 4 4 6		Arnold Schoenberg: Three Songs, Op. 48[64]	1933	6–35	6–35	—
I:	0 6 4 2 t 8 3 7 9 1 5 e	6 2 2 4 2 5 4 2 4 4 6		Arnold Schoenberg: Three Songs, Op. 48[64]	1933	6–35	6–35	—
P:	0 6 9 2 8 t 4 7 1 e 3 5	6 3 5 6 2 6 3 6 2 4 2		Josef Matthias Hauer: Salambo, op. 60[89]	1929	6-21	6-21	—
I:	0 6 3 t 4 2 8 5 e 1 9 7	6 3 5 6 2 6 3 6 2 4 2		Josef Matthias Hauer: Salambo, op. 60[89]	1929	6-21	6-21	—
P:	0 6 t 7 9 8 3 2 4 1 5 e	6 4 3 2 1 5 1 2 3 4 6		Michel Fano: Sonata for Two Pianos[90]	1951	6-Z3	6-Z36	retrograde-symmetry
I:	0 6 2 5 3 4 9 t 8 e 7 1	6 4 3 2 1 5 1 2 3 4 6		Michel Fano: Sonata for Two Pianos[90]	1951	6-Z3	6-Z36	retrograde-symmetry
P:	0 6 t 8 4 7 2 5 1 e 3 9	6 4 2 4 3 5 3 4 2 4 6		Ben Johnston: String Quartet No. 7, mov. 2[91]	1984	6–21	6–21	just intonation: otonality & utonality
I:	0 6 2 4 8 5 t 7 e 1 9 3	6 4 2 4 3 5 3 4 2 4 6		Ben Johnston: String Quartet No. 7, mov. 2[91]	1984	6–21	6–21	just intonation: otonality & utonality
P:	0 7 1 t e 9 5 8 4 3 2 6	5 6 3 1 2 4 3 4 1 1 4		Karlheinz Stockhausen: Klavierstück IV (third row of 48)[66]	1952	6–2	6–2	—
I:	0 5 e 2 1 3 7 4 8 9 t 6	5 6 3 1 2 4 3 4 1 1 4			1952	6–2	6–2	—
P:	0 7 2 1 e 8 3 5 9 t 4 6	5 5 1 2 3 5 2 4 1 6 2	Play	Arnold Schoenberg: Piano Piece, op. 33a[24][92]	1928	6–5	6–5	—
I:	0 5 t e 1 4 9 7 3 2 8 6	5 5 1 2 3 5 2 4 1 6 2	Play	Arnold Schoenberg: Piano Piece, op. 33a[24][92]	1928	6–5	6–5	—
P:	0 7 3 t 2 6 9 1 4 8 e 5	5 4 5 4 4 3 4 3 4 3 6		Alberto Ginastera: Quintet, op. 29[28]	1963	6–31	6–31	—
I:	0 5 9 2 t 6 3 e 8 4 1 7	5 4 5 4 4 3 4 3 4 3 6		Alberto Ginastera: Quintet, op. 29[28]	1963	6–31	6–31	—
P:	0 7 4 e 6 t 3 9 1 8 5 2	5 3 5 5 4 5 6 4 5 3 3		Elliott Carter: Piano Concerto, Orchestra[93]	1964–65	6-Z43	6-Z17	all-trichord hexachord; ordered in register
I:	0 5 8 1 6 2 9 3 e 4 7 t	5 3 5 5 4 5 6 4 5 3 3		Elliott Carter: Piano Concerto, Orchestra[93]	1964–65	6-Z43	6-Z17	all-trichord hexachord; ordered in register
P:	0 7 6 4 5 9 8 t 3 1 e 2	5 1 2 1 4 1 2 5 2 2 3		Igor Stravinsky: Requiem Canticles, 2nd series[2]	1966	6-Z40	6-Z11	—
I:	0 5 6 8 7 3 4 2 9 e 1 t	5 1 2 1 4 1 2 5 2 2 3		Igor Stravinsky: Requiem Canticles, 2nd series[2]	1966	6-Z40	6-Z11	—
P:	0 7 6 e 9 1 4 t 8 5 2 3	5 1 5 2 4 3 6 2 3 3 1		Ernst Krenek: String Quartet No. 7, op. 96[59]	1943–44	6-Z12	6-Z41	—
I:	0 5 6 1 3 e 8 2 4 7 t 9	5 1 5 2 4 3 6 2 3 3 1		Ernst Krenek: String Quartet No. 7, op. 96[59]	1943–44	6-Z12	6-Z41	—
P:	0 7 e 2 1 9 3 5 t 6 8 4	5 4 3 1 4 6 2 5 4 2 4		Arnold Schoenberg: Piano Concerto, Op. 42[94][95]	1942	6–9	6–9	inversional
I:	0 5 1 t e 3 9 7 2 6 4 8	5 4 3 1 4 6 2 5 4 2 4		Arnold Schoenberg: Piano Concerto, Op. 42[94][95]	1942	6–9	6–9	inversional
P:	0 7 e 8 2 t 6 9 5 4 1 3	5 4 3 6 4 4 3 4 1 3 2		Anton Webern: Op. 23[96]	1933	6-Z10	6-Z39	—
I:	0 5 1 4 t 2 6 3 7 8 e 9	5 4 3 6 4 4 3 4 1 3 2		Anton Webern: Op. 23[96]	1933	6-Z10	6-Z39	—
P:	0 7 e t 2 9 6 1 5 4 8 3	5 4 1 4 5 3 5 4 1 4 5		Ross Lee Finney: Edge of Shadow[21]	1959	6–8	6–8	—
I:	0 5 1 2 t 3 6 e 7 8 4 9	5 4 1 4 5 3 5 4 1 4 5		Ross Lee Finney: Edge of Shadow[21]	1959	6–8	6–8	—
P:	0 7 e t 9 8 3 6 4 1 5 2	5 4 1 1 1 5 3 2 3 4 3		Karlheinz Stockhausen: "Cancer", from Tierkreis[63]	1974–75	6–1	6–1	all- combinatorial
I:	0 5 1 2 3 4 9 6 8 e 7 t	5 4 1 1 1 5 3 2 3 4 3		Karlheinz Stockhausen: "Cancer", from Tierkreis[63]	1974–75	6–1	6–1	all- combinatorial
P:	0 8 1 7 2 e 9 6 4 5 3 t	4 5 6 5 3 2 3 2 1 2 5		Arnold Schoenberg: String Trio, Op. 45[97]	1946	6–5	6–5	—
I:	0 4 e 5 t 1 3 6 8 7 9 2	4 5 6 5 3 2 3 2 1 2 5		Arnold Schoenberg: String Trio, Op. 45[97]	1946	6–5	6–5	—
P:	0 8 1 t 9 e 5 3 4 7 2 6 [98][99]	4 5 3 1 2 6 2 1 3 5 4	Play	Karlheinz Stockhausen: Klavierstück VII Gruppen Klavierstück IX Klavierstück X	1955 1955–57 1961 1961	6–1	6–1	all- combinatorial hexachord, retrograde-symmetrical all-interval
I:	0 4 e 2 3 1 7 9 8 5 t 6	4 5 3 1 2 6 2 1 3 5 4	Play		1955 1955–57 1961 1961	6–1	6–1
P:	0 8 1 e t 7 5 9 4 6 3 2	4 5 2 1 3 2 4 5 2 3 1		Karlheinz Stockhausen: Klavierstück V (row of original 1954 version)[100] Klavierstück VIII[101]	1954–55 1954	6-Z3	6-Z36	—
I:	0 4 e 1 2 5 7 3 8 6 9 t	4 5 2 1 3 2 4 5 2 3 1			1954–55 1954	6-Z3	6-Z36	—
P:	0 8 4 9 t 3 1 6 e 2 7 5	4 4 5 1 5 2 5 5 3 5 2		Elliott Carter: Piano Concerto, Solo[ist][93]	1964–65	6-Z17	6-Z43	all-interval hexachord; ordered in register
I:	0 4 8 3 2 9 e 6 1 t 5 7	4 4 5 1 5 2 5 5 3 5 2		Elliott Carter: Piano Concerto, Solo[ist][93]	1964–65	6-Z17	6-Z43	all-interval hexachord; ordered in register
P:	0 8 5 t 7 1 6 4 e 2 3 9	4 3 5 3 6 5 2 5 3 1 6	Play	Alban Berg: Lulu, Alwa[45][53][54]	1934	6-Z25	6-Z47	—
I:	0 4 7 2 5 e 6 8 1 t 9 3	4 3 5 3 6 5 2 5 3 1 6	Play	Alban Berg: Lulu, Alwa[45][53][54]	1934	6-Z25	6-Z47	—
P:	0 8 7 t 4 5 2 9 e 3 1 6	4 1 3 6 1 3 5 2 4 2 5		Elliott Carter: A Symphony of Three Orchestras[93]	1976	6-Z24	6-Z46	ordered in register
I:	0 4 5 2 8 7 t 3 1 9 e 6	4 1 3 6 1 3 5 2 4 2 5		Elliott Carter: A Symphony of Three Orchestras[93]	1976	6-Z24	6-Z46	ordered in register
P:	0 8 7 e t 9 3 1 4 2 6 5	4 1 4 1 1 6 2 3 2 4 1	Play	Anton Webern: Variations for piano, mov. III, op. 27[102][103]	1936	6–1	6–1	all- combinatorial
I:	0 4 5 1 2 3 9 e 8 t 6 7	4 1 4 1 1 6 2 3 2 4 1	Play		1936	6–1	6–1	all- combinatorial
P:	0 8 e t 2 1 4 3 7 6 9 5	4 3 1 4 1 3 1 4 1 3 4		Anton Webern: Op. 29[104][36]	1938	6–2	6–2	semi-combinatorial, RI-invariant: P0 = RI5
I:	0 4 1 2 t e 8 9 5 6 3 7	4 3 1 4 1 3 1 4 1 3 4		Anton Webern: Op. 29[104][36]	1938	6–2	6–2	semi-combinatorial, RI-invariant: P0 = RI5
P:	0 8 e t 4 6 7 1 5 3 9 2	4 3 1 6 2 1 6 4 2 6 5		Ernst Krenek: Sestina, op. 161[59]	1957	6–22	6–22	—
I:	0 4 1 2 8 6 5 e 7 9 3 t	4 3 1 6 2 1 6 4 2 6 5		Ernst Krenek: Sestina, op. 161[59]	1957	6–22	6–22	—
P:	0 9 1 3 4 e 2 8 7 5 t 6	3 4 2 1 5 3 6 1 2 5 4		Luigi Dallapiccola: Piccola musica notturna[105]	1954	6–8	6–8	—
I:	0 3 e 9 8 1 t 4 5 7 2 6	3 4 2 1 5 3 6 1 2 5 4		Luigi Dallapiccola: Piccola musica notturna[105]	1954	6–8	6–8	—
P:	0 9 1 8 4 5 7 2 3 6 t e	3 4 5 4 1 2 5 1 3 4 1		Milton Babbitt: Composition for Synthesizer[106]	1961	6–20	6–20	—
I:	0 3 e 4 8 7 5 t 9 6 2 1	3 4 5 4 1 2 5 1 3 4 1		Milton Babbitt: Composition for Synthesizer[106]	1961	6–20	6–20	—
P:	0 9 1 e t 2 8 7 5 4 6 3	3 4 2 1 4 6 1 2 1 2 3	Play	Milton Babbitt: Composition for Four Instruments[107][108]	1948	6–1	6–1	all- combinatorial
I:	0 3 e 1 2 t 4 5 7 8 6 9	3 4 2 1 4 6 1 2 1 2 3	Play		1948	6–1	6–1	all- combinatorial
P:	0 9 2 3 e t 5 4 1 6 7 8	3 5 1 4 1 5 1 3 5 1 1		Igor Stravinsky: Epitaphium[2]	1959	6-Z3	6-Z36	—
I:	0 3 t 9 1 2 7 8 e 6 5 4	3 5 1 4 1 5 1 3 5 1 1		Igor Stravinsky: Epitaphium[2]	1959	6-Z3	6-Z36	—
P:	0 9 2 8 7 5 6 1 3 4 t e	3 5 6 1 2 1 5 2 1 6 1		Karlheinz Stockhausen: "Capricorn", from Tierkreis[63]	1974–75	6-Z47	6-Z25	—
I:	0 3 t 4 5 7 6 e 9 8 2 1	3 5 6 1 2 1 5 2 1 6 1		Karlheinz Stockhausen: "Capricorn", from Tierkreis[63]	1974–75	6-Z47	6-Z25	—
P:	0 9 8 4 7 6 1 t 3 5 e 2	3 1 4 3 1 5 3 5 2 6 3		David Dzubay: Di/Con[ver(gence/sions)][3]	1988	6-Z39	6-Z10	—
I:	0 3 4 8 5 6 e 2 9 7 1 t	3 1 4 3 1 5 3 5 2 6 3		David Dzubay: Di/Con[ver(gence/sions)][3]	1988	6-Z39	6-Z10	—
P:	0 9 8 e t 2 3 4 5 7 1 6	3 1 3 1 4 1 1 1 2 6 5		Anton Webern: Op. 22[109]	1929–30	6–2	6–2	semi-combinatorial
I:	0 3 4 1 2 t 9 8 7 5 e 6	3 1 3 1 4 1 1 1 2 6 5		Anton Webern: Op. 22[109]	1929–30	6–2	6–2	semi-combinatorial
P:	0 9 e 2 4 1 7 t 8 5 3 6	3 2 3 2 3 6 3 2 3 2 3		Milton Babbitt: Composition for Four Instruments, row ii[26]	1948	6–8	6–8	—
I:	0 3 1 t 8 e 5 2 4 7 9 6	3 2 3 2 3 6 3 2 3 2 3			1948	6–8	6–8	—
P:	0 t 1 2 5 4 6 3 7 e 8 9	2 3 1 3 1 2 3 4 4 3 1		Pierre Boulez: Le marteau sans maître[3][110]	1953–55	6-Z10	6-Z39	—
I:	0 2 e t 7 8 6 9 5 1 4 3	2 3 1 3 1 2 3 4 4 3 1		Pierre Boulez: Le marteau sans maître[3][110]	1953–55	6-Z10	6-Z39	—
P:	0 t 3 4 2 7 6 9 8 e 1 5	2 5 1 2 5 1 3 1 3 2 4		Charles Ives: Tone Roads No. 1[111]	1911	6-Z46	6-Z24	—
I:	0 2 9 8 t 5 6 3 4 1 e 7	2 5 1 2 5 1 3 1 3 2 4		Charles Ives: Tone Roads No. 1[111]	1911	6-Z46	6-Z24	—
P:	0 t 3 e 8 7 1 2 5 9 4 6	2 5 4 3 1 6 1 3 4 5 2		Elliott Carter: Night Fantasies[112]	1982	6–14	6–14	—
I:	0 2 9 1 4 5 e t 7 3 8 6	2 5 4 3 1 6 1 3 4 5 2		Elliott Carter: Night Fantasies[112]	1982	6–14	6–14	—
P:	0 t 9 8 7 5 e 1 2 3 4 6	2 1 1 1 2 6 2 1 1 1 2		Milton Babbitt: Composition for Four Instruments, row i[26]	1948	6–8	6–8	—
I:	0 2 3 4 5 7 1 e t 9 8 6	2 1 1 1 2 6 2 1 1 1 2			1948	6–8	6–8	—
P:	0 t 9 e 7 2 8 1 4 6 5 3	2 1 2 4 5 6 5 3 2 1 2		Karlheinz Stockhausen: Kreuzspiel[113]	1951	6-Z50	6-Z29	—
I:	0 2 3 1 5 t 4 e 8 6 7 9	2 1 2 4 5 6 5 3 2 1 2		Karlheinz Stockhausen: Kreuzspiel[113]	1951	6-Z50	6-Z29	—
P:	0 e 1 2 9 8 t 7 5 6 4 3	1 2 1 5 1 2 3 2 1 2 1		Igor Stravinsky: Agon, "Double Pas de Quatre"[2][114]	1957	6-Z3	6-Z36	—
I:	0 1 e t 3 4 2 5 7 6 8 9	1 2 1 5 1 2 3 2 1 2 1		Igor Stravinsky: Agon, "Double Pas de Quatre"[2][114]	1957	6-Z3	6-Z36	—
P:	0 e 1 3 4 2 5 7 6 8 t 9	1 2 2 1 2 3 2 1 2 2 1		Igor Stravinsky: Fanfare[2]	1964	6–1	6–1	all- combinatorial
I:	0 1 e 9 8 t 7 5 6 4 2 3	1 2 2 1 2 3 2 1 2 2 1		Igor Stravinsky: Fanfare[2]	1964	6–1	6–1	all- combinatorial
P:	0 e 1 3 4 2 7 6 9 5 8 t	1 2 2 1 2 5 1 3 4 3 2		Igor Stravinsky: Canticum Sacrum, II & IV[2]	1955	6–1	6–1	all- combinatorial
I:	0 1 e 9 8 t 5 6 3 7 4 2	1 2 2 1 2 5 1 3 4 3 2		Igor Stravinsky: Canticum Sacrum, II & IV[2]	1955	6–1	6–1	all- combinatorial
P:	0 e 1 7 9 8 t 4 6 5 2 3	1 2 6 2 1 2 6 2 1 3 1		Chen Yi: Woodwind Quintet[3][37]	1987	6-Z4	6-Z37	—
I:	0 1 e 5 3 4 2 8 6 7 t 9	1 2 6 2 1 2 6 2 1 3 1		Chen Yi: Woodwind Quintet[3][37]	1987	6-Z4	6-Z37	—
P:	0 e 2 1 3 4 9 t 7 8 6 5	1 3 1 2 1 5 1 3 1 2 1		Arvo Pärt: Diagrams[56]	1964	6–1	6–1	all- combinatorial
I:	0 1 t e 9 8 3 2 5 4 6 7	1 3 1 2 1 5 1 3 1 2 1		Arvo Pärt: Diagrams[56]	1964	6–1	6–1	all- combinatorial
P:	0 e 2 1 5 6 3 4 8 7 t 9	1 3 1 4 1 3 1 4 1 3 1	Play	Anton Webern: String Quartet, Op. 28:[104][67][102]	1936	6–5	6–5	derived: 4–1 (BACH motif), semi-combinatorial
I:	0 1 t e 7 6 9 8 4 5 2 3	1 3 1 4 1 3 1 4 1 3 1	Play	Anton Webern: String Quartet, Op. 28:[104][67][102]	1936	6–5	6–5	derived: 4–1 (BACH motif), semi-combinatorial
P:	0 e 2 3 4 1 6 5 8 9 t 7	1 3 1 1 3 5 1 3 1 1 3		Alberto Ginastera: Violin Concerto, op. 30[28]	1963	6–1	6–1	all- combinatorial
I:	0 1 t 9 8 e 6 7 4 3 2 5	1 3 1 1 3 5 1 3 1 1 3		Alberto Ginastera: Violin Concerto, op. 30[28]	1963	6–1	6–1	all- combinatorial
P:	0 e 2 9 5 3 4 8 t 7 1 6	1 3 5 4 2 1 4 2 3 6 5		Elliott Carter: String Quartet No. 3[115]	1973	6-Z23	6-Z45	—
I:	0 1 t 3 7 9 8 4 2 5 e 6	1 3 5 4 2 1 4 2 3 6 5		Elliott Carter: String Quartet No. 3[115]	1973	6-Z23	6-Z45	—
P:	0 e 3 1 7 9 6 2 t 5 8 4	1 4 2 6 2 3 4 4 5 3 4		Arnold Schoenberg: Violin Phantasy, Op. 47[116][117]	1949	6–21	6–21	—
I:	0 1 9 e 5 3 6 t 2 7 4 8	1 4 2 6 2 3 4 4 5 3 4		Arnold Schoenberg: Violin Phantasy, Op. 47[116][117]	1949	6–21	6–21	—
P:	0 e 3 2 1 8 6 9 t 7 5 4	1 4 1 1 5 2 3 1 3 2 1		Igor Stravinsky: Double Canon[2]	1959	6-Z36	6-Z3	—
I:	0 1 9 t e 4 6 3 2 5 7 8	1 4 1 1 5 2 3 1 3 2 1		Igor Stravinsky: Double Canon[2]	1959	6-Z36	6-Z3	—
P:	0 e 3 4 8 7 9 5 6 1 2 t	1 4 1 4 1 2 4 1 5 1 4	Play	Anton Webern: Concerto for Nine Instruments, Op. 24[24][68][87][92][118]	1934	6–20	6–20	all- combinatorial, derived: 3–3
I:	0 1 9 8 4 5 3 7 6 e t 2	1 4 1 4 1 2 4 1 5 1 4	Play		1934	6–20	6–20	all- combinatorial, derived: 3–3
P:	0 e 4 5 7 3 2 6 8 1 t 9	1 5 1 2 4 1 4 2 5 3 1		David Lewin: Just a Minute, Roger[119]	1978	6–16	6–16	—
I:	0 1 8 7 5 9 t 6 4 e 2 3	1 5 1 2 4 1 4 2 5 3 1		David Lewin: Just a Minute, Roger[119]	1978	6–16	6–16	—
P:	0 e 5 2 1 6 3 8 7 4 t 9	1 6 3 1 5 3 5 1 3 6 1		Alfred Schnittke: Viola Concerto[3]	1985	6–5	6–5	—
I:	0 1 7 t e 6 9 4 5 8 2 3	1 6 3 1 5 3 5 1 3 6 1		Alfred Schnittke: Viola Concerto[3]	1985	6–5	6–5	—
P:	0 e 5 9 6 2 7 3 1 4 t 9	1 6 4 3 4 5 4 2 3 6 1		Luigi Dallapiccola: Cinque Canti[36]		6-Z50	6-Z29	RI-invariant: P0 = RI9
I:	0 1 7 3 6 t 5 9 e 8 2 3	1 6 4 3 4 5 4 2 3 6 1		Luigi Dallapiccola: Cinque Canti[36]		6-Z50	6-Z29	RI-invariant: P0 = RI9
P:	0 e 6 5 4 3 1 t 9 7 2 8	1 5 1 1 1 2 3 1 2 5 6		Pierre Boulez: Structures Ia[3][67]	1952	6–5	6–5	—
I:	0 1 6 7 8 9 e 2 3 5 t 4	1 5 1 1 1 2 3 1 2 5 6		Pierre Boulez: Structures Ia[3][67]	1952	6–5	6–5	—
P:	0 e 6 5 7 1 8 2 t 3 4 9	1 5 1 2 6 5 6 4 5 1 5		George Perle: Three Inventions for Piano, no. 3[120]		6–7	6–7	all- combinatorial
I:	0 1 6 7 5 e 4 t 2 9 8 3	1 5 1 2 6 5 6 4 5 1 5		George Perle: Three Inventions for Piano, no. 3[120]		6–7	6–7	all- combinatorial
P:	0 e 7 1 2 9 3 8 t 4 5 6	1 4 6 1 5 6 5 2 6 1 1	Play	Alban Berg: Lyric Suite, mov. III[121]	1925–26	6–9	6–9	—
I:	0 1 5 e t 3 9 4 2 8 7 6	1 4 6 1 5 6 5 2 6 1 1	Play	Alban Berg: Lyric Suite, mov. III[121]	1925–26	6–9	6–9	—
P:	0 e 7 1 4 8 3 9 t 2 5 6	1 4 6 3 4 5 6 1 4 3 1	Play	Alban Berg: Lyric Suite, mov. VI, row 1[122]	1925–26	6-Z44	6-Z19	—
I:	0 1 5 e 8 4 9 3 2 t 7 6	1 4 6 3 4 5 6 1 4 3 1	Play	Alban Berg: Lyric Suite, mov. VI, row 1[122]	1925–26	6-Z44	6-Z19	—
P:	0 e 7 4 2 9 3 8 t 1 5 6	1 4 3 2 5 6 5 2 3 4 1	Play	Fritz Heinrich Klein[123] Alban Berg: Lyric Suite, mov. I[46][124] Alberto Ginastera: Sonata for Guitar, mvt. III, op. 47[28]	1920–22[125] 1925–26 1976	6–32	6–32	Mother chord (all-interval) Trichordally combinatorial: 0369[126]
I:	0 1 5 8 t 3 9 4 2 e 7 6	1 4 3 2 5 6 5 2 3 4 1	Play		1920–22[125] 1925–26 1976	6–32	6–32
P:	0 e 7 8 3 1 2 t 6 5 4 9	1 4 1 5 2 1 4 4 1 1 5		Arnold Schoenberg: String quartet No. 4[64][116]	1936	6–16	6–16	—
I:	0 1 5 4 9 e t 2 6 7 8 3	1 4 1 5 2 1 4 4 1 1 5		Arnold Schoenberg: String quartet No. 4[64][116]	1936	6–16	6–16	—
P:	0 e 8 4 7 3 1 5 2 6 9 t	1 3 4 3 4 2 4 3 4 3 1		Arnold Schoenberg: Modern Psalm, Op. 50c[3]	1950	6–20	6–20	—
I:	0 1 4 8 5 9 e 7 t 6 3 2	1 3 4 3 4 2 4 3 4 3 1		Arnold Schoenberg: Modern Psalm, Op. 50c[3]	1950	6–20	6–20	—
P:	0 e 8 9 7 6 1 5 4 3 2 t	1 3 1 2 1 5 4 1 1 1 4	Play	Alban Berg: Lyric Suite, row 2[122]	1925–26	6-Z3	6-Z36	—
I:	0 1 4 3 5 6 e 7 8 9 t 2	1 3 1 2 1 5 4 1 1 1 4	Play	Alban Berg: Lyric Suite, row 2[122]	1925–26	6-Z3	6-Z36	—
P:	0 e 9 2 t 7 1 4 8 3 5 6	1 2 5 4 3 6 3 4 5 2 1		Milton Babbitt: "The Widow's Lament in Springtime"[127]	1951	6–8	6–8	—
I:	0 1 3 t 2 5 e 8 4 9 7 6	1 2 5 4 3 6 3 4 5 2 1		Milton Babbitt: "The Widow's Lament in Springtime"[127]	1951	6–8	6–8	—
P:	0 e 9 4 3 t 8 7 5 6 1 2	1 2 5 1 5 2 1 2 1 5 1		Dmitri Shostakovich: Symphony No. 14, mov. I[82]	1969	6–5	6–5	—
I:	0 1 3 8 9 2 4 5 7 6 e t	1 2 5 1 5 2 1 2 1 5 1		Dmitri Shostakovich: Symphony No. 14, mov. I[82]	1969	6–5	6–5	—
P:	0 e 9 6 t 8 7 5 2 4 3 1	1 2 3 4 2 1 2 3 2 1 2		Igor Stravinsky: Canticum Sacrum, II[2]	1955	6–2	6–2	—
I:	0 1 3 6 2 4 5 7 t 8 9 e	1 2 3 4 2 1 2 3 2 1 2		Igor Stravinsky: Canticum Sacrum, II[2]	1955	6–2	6–2	—
P:	0 e t 1 3 2 4 9 8 6 5 7	1 1 3 2 1 2 5 1 2 1 2		Alfred Schnittke: String Quartet No. 4, Mov. I[3]	1989	6–1	6–1	all-combinatorial
I:	0 1 2 e 9 t 8 3 4 6 7 5	1 1 3 2 1 2 5 1 2 1 2		Alfred Schnittke: String Quartet No. 4, Mov. I[3]	1989	6–1	6–1	all-combinatorial
P:	0 e t 5 6 9 7 1 2 8 3 4	1 1 5 1 3 2 6 1 6 5 1		Arvo Pärt: Symphony No. 1 Perpetuum Mobile[56]	1963 1963	6–5	6–5	—
I:	0 1 2 7 6 3 5 e t 4 9 8	1 1 5 1 3 2 6 1 6 5 1		Arvo Pärt: Symphony No. 1 Perpetuum Mobile[56]	1963 1963	6–5	6–5	—

Other lengths

Fewer than twelve

Five

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 e 8 9 t	1 3 1 1		Igor Stravinsky: In memoriam Dylan Thomas[128]	1954	5–1	—

Six

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 6 9 8 1 e [129][130][131][132]	6 3 1 5 2	Sacher hexachord Play	Pierre Boulez: Messagesquisse Répons Dérive 1 Incises sur Incises	1976 1984 1984 1994 1996	6-Z11, (6-Z40)	Musical cryptogram: Paul Sacher
			Conrad Beck: Für Paul Sacher: Drei Epigramme für Violoncello solo	1976
			Luciano Berio: Les Mots sont allés
			Benjamin Britten: Tema "Sacher"
			Henri Dutilleux: Trois Strophes sur le nom de Sacher
			Wolfgang Fortner: Zum Spielen für den 70. Geburtstag: Thema und Variationen für Violoncello Solo
			Alberto Ginastera :Puneña n° 2, op. 45
			Cristóbal Halffter: Variationen über das Thema eSACHERe
			Hans Werner Henze: Capriccio per Paul Sacher
			Heinz Holliger: Chaconne, für Violoncello Solo
			Klaus Huber: Transpositio ad infinitum
			Witold Lutosławski: Sacher-Variationen
0 9 8 7 1 4	3 1 1 6 3	Play	Arnold Schoenberg: Die glückliche Hand, Op. 18[133] "Seraphita", op. 22, no. 1[133]	1910–13 1913–16	6-Z44 (6-Z19)	Schoenberg hexachord

Eight

Prime form	Interval classes	Composer: Composition	Year	Set(s)	Features
0 2 8 9 t 4 3 e	2 6 1 1 6 1 4	Alban Berg: Lyric Suite[45]	1925–26	8–5	—
0 2 9 7 t 8 e 1	2 5 2 3 2 3 2	Joonas Kokkonen: Symphonic Sketches, mov. 3, row B[41]	1968	8–1	—
0 7 1 6 8 2 3 4	5 6 5 2 6 1 1	Alban Berg: Lyric Suite[45]	1925–26	8–5	—
0 8 2 3 t 4 9 e	4 6 1 5 6 5 2	Alban Berg: Lyric Suite[45]	1925–26	8–5	—
0 t 2 4 5 7 3 1	2 4 2 1 2 4 2	Igor Stravinsky: Agon, "Pas-de-Deux" refrain (b. 463–472)[134]	1957	8–10	—
0 t 3 5 2 4 1 e	2 5 2 3 2 3 2	Joonas Kokkonen: Symphonic Sketches, mov. 3, row C[41]	1968	8–1	—

Nine

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 2 e 4 9 7 8 6 1	2 3 5 5 2 1 2 5		Joonas Kokkonen: Symphonic Sketches, mov. 3, row D[41]	1968	9–8	—

Ten

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 e 2 1 5 6 4 9 7 8	1 3 1 4 1 2 5 2 1		Arvo Pärt: Collage sur B-A-C-H[56]	1964	—	BACH motif

Eleven

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 1 e 5 6 8 7 9 2 3 4	1 2 6 1 2 1 2 5 1 1		Karel Husa: Music for Prague 1968[3]	1968	—	—
0 4 3 e 2 7 6 8 t 5 1	4 1 4 3 5 1 2 2 5 4	Spacing,[135] orchestration not shown Play	Aaron Copland: Inscape row 1[135]	1967	—	—
0 7 3 9 2 4 6 t 7 e 1	5 4 6 5 2 2 4 3 4 2		Aaron Copland: Inscape row 2[135]	1967	—	—
0 e t 4 6 2 1 9 8 5 3	1 1 6 2 4 1 4 1 3 2		Karlheinz Stockhausen: Licht, Lucifer formula[71][136]	1977– 2003	—	—

More than twelve

Thirteen

Prime form	Interval classes	Composer: Composition	Year	Set(s)	Features
0 1 4 5 t 8 7 t e 6 3 2 9	1 3 1 5 2 1 3 1 5 3 1 7	Karlheinz Stockhausen: "Taurus", from Tierkreis[63]	1974–75	—	—
0 1 t 6 8 3 5 2 4 e 9 7 0	1 3 4 2 5 2 3 2 5 2 1 5	Karlheinz Stockhausen: Choral[137]	1950	—	—
0 3 e 8 5 4 9 2 1 t 7 3 6	3 4 3 3 1 5 5 1 3 3 4 3	Luciano Berio: Nones[138][139]	1953–54	—	—
0 4 1 5 7 t 2 8 e 9 3 6 9	4 3 4 2 3 4 6 3 2 6 3 3	Karlheinz Stockhausen: "Pisces", from Tierkreis[63]	1974–75	—	—
0 7 8 6 e t 2 5 1 3 9 4 0	5 1 2 5 1 4 3 4 2 6 5 4	Karlheinz Stockhausen: Licht, Michael formula[71]	1977– 2003	—	—
0 e 2 4 t 9 7 3 7 1 8 5 6	1 3 2 6 1 2 4 4 6 7 3 1	Karlheinz Stockhausen: "Virgo", from Tierkreis[63]	1974–75	—	—
0 e 4 t 9 5 8 6 2 1 6 7 3	1 5 6 1 4 3 2 4 1 5 1 4	Karlheinz Stockhausen: Klavierstück IV (first row of 48)[66]	1952	6-Z38, 6-Z6	—

Fourteen

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 1 t 3 9 4 6 7 4 5 7 3 8 e	1 3 5 6 5 2 1 3 1 2 4 5 3	Play	Karlheinz Stockhausen: "Libra", from Tierkreis[63]	1974–75	—	—
0 1 t 9 2 8 e 7 3 5 6 4 0 2	1 3 1 5 6 3 4 4 2 1 2 4 2		Karlheinz Stockhausen: Inori[140]	1973–74	—	—
0 e 2 4 1 8 t e 9 4 7 5 3 6	1 3 2 3 5 2 1 2 5 3 2 3		Joonas Kokkonen: Cello Concerto, mov. 3, row A[41]	1969	—	—

Seventeen

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 2 1 e t 8 9 e t 0 1 e t 0 e 9 0	2 1 2 1 2 1 2 1 2 1 2 1 2 1 2 3		Igor Stravinsky: Agon, b. 104[141]	1957	—	—
0 2 3 5 4 9 7 8 e 1 6 e t 0 e 9 0	2 1 2 1 5 2 1 3 2 5 5 1 2 1 2 3		Igor Stravinsky: Agon, "Bransles"[141]	1957	6-Z40, 6-Z11	—

Twenty-two

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 e 6 8 7 2 1 3 t 9 4 6 9 7 8 3 1 2 4 e t 0	1 5 2 1 5 1 2 5 1 5 2 3 2 1 5 2 1 2 5 1 2		Joonas Kokkonen: Cello Concerto, mov. 3, row B[41]	1969	—	—

Twenty-four

Prime form	Interval classes	Notation	Composer: Composition	Year	Set(s)	Features
0 1 12 14 23 22 19 18 20 21 3 4 16 13 6 15 8 7 17 10 9 11 2 5	0.5 5.5 1 4.5 0.5 1.5 0.5 1 0.5 9 0.5 6 1.5 3.5 4.5 3.5 .5 5 3.5 0.5 5 3.5 0.5 1 4.5 1.5		Pierre Boulez: Polyphonie X, quarter-tone series[142]	1950–51	—	—
0 20 1 10 9 11 17 15 16 7 2 6 23 21 22 13 8 12 18 14 19 4 3 5	10 9.5 4.5 0.5 1 3 1 0.5 4.5 2.5 2 8.5 1 0.5 4.5 2.5 2 3 2 2.5 7.5 0.5 1		Karlheinz Stockhausen: Himmelfahrt, mod24 (no octave equivalency)[143]	2004– 2005	—	—

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Genevieve Marcus, "Stockhausen's Zeitmasse", The Music Review 29, no. 2 (May 1968): 142–156. Citation on p. 144.
Rigoni, Michel (1998). Stockhausen: ... un vaisseau lancé vers le ciel (second edition, revised, corrected, and enlarged ed.). Lillebonne: Millénaire III Editions. pp. 141–142. ISBN 978-2911906022.
Bailey (1991), p.27.
Leeuw. 2005. p. 158. ISBN 90-5356-765-8.
Nolan, Catherine (1995). "Structural Levels and Twelve-Tone Music: A Revisionist Analysis of the Second Movement of Webern's 'Piano Variations Op. 27'". Journal of Music Theory 39 (1 (Spring)): 49–50. Retrieved 8 November 2013.
Alegent, Brian (2010). The Twelve-tone Music of Luigi Dallapiccola, p.48. ISBN 9781580463256.
Guo, Xin (2003-01-01). "Chinese Musical Language Interpreted by Western Idioms: Fusion Process in the Instrumental Works by Chen Yi Archived 2013-04-12 at the Wayback Machine". Dissertation. Retrieved 8 November 2013.
Leeuw. 2005. p. 177. ISBN 90-5356-765-8.
Carola Nielinger, "'The Song Unsung': Luigi Nono's Il canto sospeso", Journal of the Royal Musical Association 131, no. 1 (2006): 83–150. Citation on p. 97.
Slonimsky, Nicolas (1975). Thesaurus of Scales and Melodic Patterns, p. 243. ISBN 0-8256-1449-X.
Jurkowski, Edward (2004). The Music of Joonas Kokkonen, pp.78, 84, & 184. ISBN 9780754607892.
Smyth (Summer 1999), pp. 126–127, 142.
Wiens, Carl Kristian (1997). Igor Stravinsky and Agon, p.168. University of Michigan.
Jacobi, Bonnie S. (2000). "The Bransles of Stravinsky's Agon: A Transition to Serial Composition", Moores School of Music.
Headlam, David John (1996). The Music of Alban Berg, pp.265, 304, & 306. ISBN 9780300064001.
Pople, Anthony (1991). Berg: Violin Concerto. pp. 18 & 21. ISBN 0-521-39976-9.
Eric Walter White, "Two New Memorial Works by Stravinsky", Tempo, new series, no. 74 (Autumn 1965), pp. 18–21.
Claudio Spies, "Notes on Stravinsky's Variations", Perspectives of New Music 4, no. 1 (Autumn-Winter 1965): pp. 62–74. Citation on p. 66.
Igor Stravinsky and Robert Craft, Themes and Episodes (New York: Alfred A. Knopf,1967): p. 60.
Jerome Kohl, "Exposition in Stravinsky's Orchestral Variations", Perspectives of New Music 18, nos. 1 and 2 (Autumn 1979 – Summer 1980): pp. 391–405. Citation on pp. 391–392.
Paul Schuyler Phillips, "The Enigma of 'Variations': A Study of Stravinsky's Final Work for Orchestra", Music Analysis 3, no. 1 (March 1984): pp. 69–89. Citation on p. 69.
Smyth (Summer 1999), pp. 139–140, 142.
Whittall (2008), p.81.
Hailey, Christopher, ed. (2010). Alban Berg and His World. p. 215. ISBN 9781400836475.
Herman Sabbe, Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode|1950–1975 (Ghent: Rijksuniversiteit te Gent, 1977): 55.
Hillier, Paul (1997). Arvo Pärt. pp. 40, 47, & 50. ISBN 9780191590481.
Babbitt (2011). p.350. ISBN 9781400841226.
Krenek (April 1960), p. 229.
Stewart, John Lincoln (1991). Ernst Krenek: The Man and His Music. pp. 169, 250, & 290. ISBN 9780520070141.
Tregear, Peter John (Mar., 2001). "Musical Style and Political Allegory in Krenek's Karl V", Cambridge Opera Journal, Vol. 13, No. 1, pp.55–80. Citation on 73.
Boros, James (Summer 1991). "Donald Martino's Fantasy Variations: The First Three Measures". Perspectives of New Music 29 (2): 280–293. Retrieved 11 November 2013.
Huckvale, David (2008). Hammer Film Scores and the Musical Avant-Garde. p. 43. ISBN 9780786451661.
Kohl, Jerome (Autumn 1983 – Summer 1984). "The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music". Perspectives of New Music. 22 (1–2): 147–185 (151). doi:10.2307/832939. JSTOR 832939. (subscription required).
Hurry, Pam; Phillips, Mark; Richards, Mark (2001). Heinemann Advanced Music. pp. 100, 122, & 303. ISBN 9780435812584.
Smyth (Summer 1999), pp. 136–137, 142.
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Cooper (1975). p.265. ISBN 0-396-06752-2.
Lewin (1962), p. 94.
Krenek (April 1960), p. 230.
Milton Babbitt, 1976. "Responses: A First Approximation", Perspectives of New Music 14, no. 2/15, no. 1 (Spring-Summer/Fall-Winter 1976): 8–10. Citation on p. 12.
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Frisius; Stockhausen (1998). "Es geht aufwärts", p. 396. Blumröder, ed. ISBN 978-3-00-002131-2.
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Lewin, David (1959). "Re: Intervallic Relations Between Two Collections of Notes". Journal of Music Theory 3, no. 2 (November 1959): 298–301. p. 300.
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[Bailey28-1] Bailey, Kathryn (1991). The Twelve-Note Music of Anton Webern: Old Forms in a New Language, p.28. ISBN 9780521547963.

[Kuster-2] Kuster, Andrew (2000). "Stravinsky's Topology: An Examination of his Twelve-Tone Works through Object-Oriented Analysis of Structural and Poetic-Expressive Relationships with Special Attention to his Choral Works and Threni Archived 2013-12-03 at the Wayback Machine". D.M.A. diss. (University of Colorado). Retrieved 4 November 2013.

[Dunker_three-3] Dunker, Amy. "Twelve Tone Rows Used by Various Composers". AmyDunker.com: 3. Retrieved 4 November 2013.

[Hunger_&_Hippel-4] Hunter, David J.; von Hippel, Paul T. (Feb., 2003). "How Rare Is Symmetry in Musical 12-Tone Rows?". The American Mathematical Monthly (Mathematical Association of America) 110 (2): 124–132. Retrieved 4 November 2013.

[5] Whittall, Arnold (2008). The Cambridge Introduction to Serialism. Cambridge Introductions to Music. New York: Cambridge University Press. p.71. ISBN 978-0-521-68200-8.

[6] Whittall (2008), p.2.

[Dunker_one-7] Dunker, Amy. "Twelve Tone Rows Used by Various Composers". AmyDunker.com: 1. Retrieved 4 November 2013.

[8] Lewin, David (Autumn, 1962). "A Theory of Segmental Association in Twelve-Tone Music". Perspectives of New Music 1 (1): 89–116. Retrieved 11 November 2013. Citation on p.93.

[Mayfield-9] Mayfield, Connie (2013). Theory Essentials. p. 549. ISBN 9781133713807.

[Morris188-10] Morris, Robert (2010). The Whistling Blackbird: Essays and Talks on New Music, p.188. University Rochester. ISBN 9781580463492.

[11] Brian Alegant and Martin Lofthouse, "Having Your Cake and Eating It, Too: The Property of Reflection in Twelve-Tone Rows (Or, Further Extensions on the Mallelieu Complex)", Perspectives of New Music 40, no. 2 (Summer 2002): 233–272. Citation on pp. 235–237. JSTOR 25164497

[Bailey26-12] Bailey (1991), p. 26.

[13] Leeuw, Ton de (2005). Music of the Twentieth Century: A Study of Its Elements and Structure. Amsterdam: Amsterdam University Press. p. 161. ISBN 90-5356-765-8. Translated from the Dutch by Stephen Taylor. Translation of Muziek van de twintigste eeuw: een onderzoek naar haar elementen en structuur. Utrecht: Oosthoek, 1964. Third impression, Utrecht: Bohn, Scheltema & Holkema, 1977. ISBN 90-313-0244-9.

[14] Smyth, David. 1999. "Stravinsky's Second Crisis: Reading the Early Serial Sketches". Perspectives of New Music 37, no. 2 (Summer): 117–146. Citation on pp. 126–127, 134, 142.

[Pearsall217-15] Pearsall, Edward (2012). Twentieth-Century Music Theory and Practice, p.217. ISBN 9780415888950.

[16] Archibald, Bruce (1978). "Reviews of Records: Walter Piston: Symphony No. 7, Symphony No. 8, Louisville Orchestra, Jorge Mester; Walter Piston: Symphony No. 5, Louisville Orchestra, Robert Whitney; Walter Piston: Concerto for Viola and Orchestra, Paul Doktor, viola, Louisville Orchestra, Robert Whitney; Walter Piston: The Incredible Flutist, Louisville Orchestra, Jorge Mester". The Musical Quarterly 64 (2): 267. pp. 263–68.

[17] "An Interview with Roger Reynolds", Performance Arts Encyclopedia. Accessed May 27, 2015.

[Krenek212-18] Ernst Krenek, "Extents and Limits of Serial Techniques", The Musical Quarterly 46, no. 2, Special Issue: Problems of Modern Music. The Princeton Seminar in Advanced Musical Studies (April 1960): pp. 210–232. Citation on p. 212.

[19] Babbitt, Milton (2011). The Collected Essays of Milton Babbitt. p. 94. ISBN 9780691089669.

[K&T81-20] Kholopov, Yuri; Tsenova, Valeria (1997). Edison Denisov. p. 81. ISBN 9780203479599.

[Cooper266-21] Cooper, Paul (1975). Perspectives in Music Theory, p.266. ISBN 0-396-06752-2.

[Dallapiccola10-22] Luigi Dallapiccola, "Notes for an Analysis of the Canti di Liberazione", translated by Chloe Stodt. Perspectives of New Music 38, no. 1 (Winter 2000): 2–24. Citation on p. 10. Accessed 16 November 2013.

[Lewin_113-23] Lewin (1962), pp. 113–115.

[Dunker_two-24] Dunker, Amy. "Twelve Tone Rows Used by Various Composers". AmyDunker.com: 2. Retrieved 4 November 2013.

[25] "A Survivor from Warsaw: the twelve-note row". AEIOU.at. Retrieved 13 November 2013. ( (in German))

[ArnoldHair159-26] Stephen Arnold and Graham Hair, "An Introduction and a Study: String Quartet No. 3", Perspectives of New Music 14, no. 2 and 15, no. 1 (Spring-Summer/Fall-Winter 1976): 155–186. Citation on p. 159.

[K&T103-27] Kholopov & Tsenova (1997), p.103. ISBN 9780203479599.

[Fobes-28] Fobes, Christopher Anderson (2006). "A Theoretical Investigation of Twelve-tone Rows, Harmonic Aggregates, and Non-twelve-tone Materials in the Late Music of Alberto Ginastera", PhD diss. (Buffalo: State University of New York at Buffalo, 2006): pp. 152–154 & 161.

[Harvey93-29] Jonathan Harvey, The Music of Stockhausen: An Introduction (Berkeley and Los Angeles: University of California Press, 1975): p. 93. ISBN 0-520-02311-0.

[30] Berry, Wallace (1976/1987). Structural Functions in Music, p.175. Dover. ISBN 0-486-25384-8.

[Marcus144-31] Genevieve Marcus, "Stockhausen's Zeitmasse", The Music Review 29, no. 2 (May 1968): 142–156. Citation on p. 144.

[Rigoni-32] Rigoni, Michel (1998). Stockhausen: ... un vaisseau lancé vers le ciel (second edition, revised, corrected, and enlarged ed.). Lillebonne: Millénaire III Editions. pp. 141–142. ISBN 978-2911906022.

[Bailey27-33] Bailey (1991), p.27.

[34] Leeuw. 2005. p. 158. ISBN 90-5356-765-8.

[Nolan-35] Nolan, Catherine (1995). "Structural Levels and Twelve-Tone Music: A Revisionist Analysis of the Second Movement of Webern's 'Piano Variations Op. 27'". Journal of Music Theory 39 (1 (Spring)): 49–50. Retrieved 8 November 2013.

[Alegent-36] Alegent, Brian (2010). The Twelve-tone Music of Luigi Dallapiccola, p.48. ISBN 9781580463256.

[Guo-37] Guo, Xin (2003-01-01). "Chinese Musical Language Interpreted by Western Idioms: Fusion Process in the Instrumental Works by Chen Yi Archived 2013-04-12 at the Wayback Machine". Dissertation. Retrieved 8 November 2013.

[38] Leeuw. 2005. p. 177. ISBN 90-5356-765-8.

[39] Carola Nielinger, "'The Song Unsung': Luigi Nono's Il canto sospeso", Journal of the Royal Musical Association 131, no. 1 (2006): 83–150. Citation on p. 97.

[40] Slonimsky, Nicolas (1975). Thesaurus of Scales and Melodic Patterns, p. 243. ISBN 0-8256-1449-X.

[Jurkowski-41] Jurkowski, Edward (2004). The Music of Joonas Kokkonen, pp.78, 84, & 184. ISBN 9780754607892.

[42] Smyth (Summer 1999), pp. 126–127, 142.

[43] Wiens, Carl Kristian (1997). Igor Stravinsky and Agon, p.168. University of Michigan.

[Jacobi-44] Jacobi, Bonnie S. (2000). "The Bransles of Stravinsky's Agon: A Transition to Serial Composition", Moores School of Music.

[Headlam-45] Headlam, David John (1996). The Music of Alban Berg, pp.265, 304, & 306. ISBN 9780300064001.

[Pople_'91-46] Pople, Anthony (1991). Berg: Violin Concerto. pp. 18 & 21. ISBN 0-521-39976-9.

[47] Eric Walter White, "Two New Memorial Works by Stravinsky", Tempo, new series, no. 74 (Autumn 1965), pp. 18–21.

[48] Claudio Spies, "Notes on Stravinsky's Variations", Perspectives of New Music 4, no. 1 (Autumn-Winter 1965): pp. 62–74. Citation on p. 66.

[49] Igor Stravinsky and Robert Craft, Themes and Episodes (New York: Alfred A. Knopf,1967): p. 60.

[50] Jerome Kohl, "Exposition in Stravinsky's Orchestral Variations", Perspectives of New Music 18, nos. 1 and 2 (Autumn 1979 – Summer 1980): pp. 391–405. Citation on pp. 391–392.

[51] Paul Schuyler Phillips, "The Enigma of 'Variations': A Study of Stravinsky's Final Work for Orchestra", Music Analysis 3, no. 1 (March 1984): pp. 69–89. Citation on p. 69.

[52] Smyth (Summer 1999), pp. 139–140, 142.

[Whittall81-53] Whittall (2008), p.81.

[Hailey-54] Hailey, Christopher, ed. (2010). Alban Berg and His World. p. 215. ISBN 9781400836475.

[55] Herman Sabbe, Het muzikale serialisme als techniek en als denkmethode: Een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het seriërend beginsel in de muziek van de periode|1950–1975 (Ghent: Rijksuniversiteit te Gent, 1977): 55.

[Hillier-56] Hillier, Paul (1997). Arvo Pärt. pp. 40, 47, & 50. ISBN 9780191590481.

[57] Babbitt (2011). p.350. ISBN 9781400841226.

[58] Krenek (April 1960), p. 229.

[Stewart-59] Stewart, John Lincoln (1991). Ernst Krenek: The Man and His Music. pp. 169, 250, & 290. ISBN 9780520070141.

[60] Tregear, Peter John (Mar., 2001). "Musical Style and Political Allegory in Krenek's Karl V", Cambridge Opera Journal, Vol. 13, No. 1, pp.55–80. Citation on 73.

[61] Boros, James (Summer 1991). "Donald Martino's Fantasy Variations: The First Three Measures". Perspectives of New Music 29 (2): 280–293. Retrieved 11 November 2013.

[Huckvale-62] Huckvale, David (2008). Hammer Film Scores and the Musical Avant-Garde. p. 43. ISBN 9780786451661.

[Kohl-63] Kohl, Jerome (Autumn 1983 – Summer 1984). "The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music". Perspectives of New Music. 22 (1–2): 147–185 (151). doi:10.2307/832939. JSTOR 832939. (subscription required).

[Hurry-64] Hurry, Pam; Phillips, Mark; Richards, Mark (2001). Heinemann Advanced Music. pp. 100, 122, & 303. ISBN 9780435812584.

[65] Smyth (Summer 1999), pp. 136–137, 142.

[Frisius-66] Rudolf Frisius,.. Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen (Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International, 2008): p. 73. ISBN 978-3-7957-0249-6.

[Cooper265-67] Cooper (1975). p.265. ISBN 0-396-06752-2.

[Lewin_94-68] Lewin (1962), p. 94.

[69] Krenek (April 1960), p. 230.

[70] Milton Babbitt, 1976. "Responses: A First Approximation", Perspectives of New Music 14, no. 2/15, no. 1 (Spring-Summer/Fall-Winter 1976): 8–10. Citation on p. 12.

[Stockhausen9-71] Frisius, Rudolph and Stockhausen, Karlheinz (1998). "Die Tonhöhen der Superformel für LICHT", in Karlheinz Stockhausen, Texte zur Musik 9, edited by Christoph von Blumröder, 13–33 (Kürten: Stockhausen-Verlag): 13. ISBN 978-3-00-002131-2.

[72] Frisius; Stockhausen (1998). "Es geht aufwärts", p. 396. Blumröder, ed. ISBN 978-3-00-002131-2.

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Atonality and post-tonality
Scales and tuning	Equal temperament Mode of limited transposition Mystic chord Octatonic scale Whole tone scale
Genres and schools	Twelve-tone technique Row List Second Viennese School Serialism Spectral music
Techniques and concepts	Chromaticism Cyclic set Dissonant counterpoint Dynamic tonality Emancipation of the dissonance Klangfarbenmelodie Polymodal chromaticism Polytonality Distance model Quartal and quintal harmony Tone Clock Tone cluster Unified field
Compositions	List of atonal compositions

Twelve-tone technique and Serialism
Fundamentals	Combinatoriality Complementation Derivation Hexachord Interval class Invariance Partition Cross partition Tone row Aggregate List
Permutations	Prime row Retrograde Inversion Retrograde inversion Multiplication
Notable composers	Milton Babbitt Pierre Boulez Josef Matthias Hauer Second Viennese School Alban Berg Arnold Schoenberg Anton Webern Charles Wuorinen ...more...
Related articles	All-interval twelve-tone row All-trichord hexachord Atonality Chromatic scale Duration series Equivalence Formula composition Modernism (music) Punctualism Semitone Set theory Time point Trope
List of dodecaphonic and serial compositions

List of tone rows and series

Twelve tone rows

Other lengths

Fewer than twelve

More than twelve

See also

Sources