I. Fundamentals
17 Triads
Chelsey Hamm
Key Takeaways
- A triad is a three-note chord whose notes can be arranged in thirds. A triad can always be “stacked” so that its notes are either on all lines or all spaces.
- When a triad is stacked in its most compact form in thirds, the lowest note is called the root, the middle note is called the third, and the highest note is called the fifth.
- There are four qualities of triad. A major triad's third is major and its fifth is perfect, while a minor triad's third is minor and its fifth is perfect. A diminished triad's third is minor and its fifth is diminished, while an augmented triad's third is major and its fifth is augmented.
- In chord symbols, major triads are represented with capital letters that correspond to the triad’s root. Minor triads have a lowercase “mi” after the letter, diminished triads have a superscript circle (o), and augmented triads have a plus sign (+). You may see other abbreviations in other contexts (a more exhaustive list is given in the Chord Symbols chapter).
- Within major and minor keys, triads have particular qualities that correspond to scale degree. These are the same in every major and minor key, which makes memorizing them useful.
- Triads are identified by their root, quality, and inversion.
Triads
The three notes of a triad can always be arranged in thirds. melodically and harmonically. The first triad is on three adjacent spaces, while the second triad is on three adjacent lines. A triad can always be “stacked” so that its notes are either on all lines or all spaces. When a triad is stacked in its most compact form (measures 2 and 4 of ), it looks like a snowperson (see ). Just as a snowperson consists of a bottom, middle, and head, a triad consists of lowest, middle, and upper notes.
shows two triads, each written bothhttps://musescore.com/user/32728834/scores/6839451/embed
Colloquially, when a triad is stacked in this fashion, we might call this “snowperson form,” but the official term is root position; this is explored more in the chapter titled Inversion and Figured Bass. As shows, the lowest note of a triad is called the root, the middle note is called the third (a generic third above the root), and the highest note is called the fifth (a generic fifth above the root).
Triadic Qualities and Listening to Triads
There are four qualities of triad—major, minor, diminished, and augmented—which are determined by the quality of the intervals from the root to the third and the root to the fifth. These qualities are labeled in
: triad qualities are shown above the staff, the quality of the fifth to the root is given in red to the left of the triad, and the quality of the third is given in blue to the right of the triad. Augmented triads are shown last because the other three types are more common in most classical and popular music.Note that triads are named for certain important intervals they contain:
- Major and minor triads are named for the quality of their third. (Both have perfect fifths.)
- Diminished and augmented triads are named for the quality of their fifth:
- A diminished triad’s fifth is diminished. (Its third is minor.)
- An augmented triad’s fifth is augmented. (Its third is major.)
Listen carefully to the different qualities of triad in
. It is common to pair expressive qualities with triads when learning what they sound like. You might think of major triads as sounding “happy,” minor triads as “sad,” diminished triads as “scary,” and augmented triads as having a “fantasy” or “mystical” sound.https://musescore.com/user/32728834/scores/6839452/embed
Chord Symbols
Chord symbols for triads include the letter name of the root and an indication of the triad’s quality, and sometimes the pitch class of the bass voice (meaning the lowest note in the chord, not any particular instrument or voice type).
A chord symbol begins with a capital letter (and, if necessary, an accidental) denoting the root of the chord. That letter is followed by information about a chord’s quality. Open Music Theory will use the following abbreviations.[1]
- Major triad: no quality symbol is added
- Minor triad: lowercase “mi”
- Diminished triad: superscript circle (o)
- Augmented triad: plus sign (+)
For example, the chord symbols C, Cmi, Co, and C+ mean a C major triad, C minor triad, C diminished triad, and C augmented triad, respectively. If the root of the chord has an accidental, include it: for example, B♭mi is the chord symbol for a B♭ minor triad, and F♯o is the chord symbol for an F♯ diminished triad.
Finally, if a pitch class other than the chord root is the lowest note in the chord, a slash is added, followed by a capital letter denoting the pitch class in the bass. This topic will be explored more in the chapter titled Inversion and Figured Bass. first shows C major and C minor triads with their chord symbols (C and Cmi). It then shows how the chord symbol for the C minor triad changes when a note other than C is on the bottom: when E♭ is the lowest note, the chord symbol is Cmi/E♭, and when G is the lowest note, the symbol is Cmi/G.
https://musescore.com/user/32728834/scores/6839453/embed
Triad Qualities in Major and Minor
Any note of the major scale can be the root of a triad. As you can see in
, which is in the key of G major, triads built on do, fa, and sol [latex](\hat1,\ \hat4,[/latex] and [latex]\hat5)[/latex] in major keys are major, shown with the capital letter of the triad’s root. Triads built on re, mi, and la [latex](\hat2,\ \hat3,[/latex] and [latex]\hat6)[/latex] are minor, shown with a lowercase “mi” after the capital letter of the root. Triads built on ti [latex](\hat7)[/latex] are diminished; this is shown with a superscript “o” (which you might know as the degree symbol). These triadic qualities do not change in different keys; in other words, the quality of a triad built on do [latex](\hat1)[/latex] will always be major in any major key.https://musescore.com/user/32728834/scores/8514212/embed
, in the key of G minor, shows the pattern of triad quality for minor scales. Note that this example contains two triads built on sol [latex](\hat5)[/latex] and two built on te/ti [latex](\downarrow\hat7[/latex]/[latex]\hat7)[/latex]—one without the raised leading tone (“natural minor”) and one with the raised leading tone (“harmonic minor”). As you can see in , triads built on do, fa, and sol [latex](\hat1,\ \hat4,[/latex] and [latex]\hat5)[/latex] (without the raised leading tone) are minor (shown with the lowercase “mi”). Triads built on me, le, and te [latex](\downarrow\hat3,\downarrow\hat6,[/latex] and [latex]\downarrow\hat7)[/latex] (without the raised leading tone) are major. A triad built on sol [latex](\hat5)[/latex] with the raised leading tone is also major. Triads built on re and ti [latex](\hat2[/latex] and [latex]\hat7)[/latex] (with the raised leading tone) are diminished (shown with the superscript degree symbol).
https://musescore.com/user/32728834/scores/8456477/s/Orwx2V/embed
Spelling Triads
To build a triad from a chord symbol, you need to be aware of the triad’s root and quality. Complete the following steps:
- Draw the root on the staff.
- Draw notes a third and fifth above the root (i.e., draw a snowperson).
- Think of (or write down) the major key signature of the triad’s root.
- To spell a major triad, write any accidentals from the key signature that apply to the notes of the triad.
- For a minor, diminished, or augmented triad, add additional accidentals to alter the chord’s third and/or fifth when appropriate.
shows this process for a D major triad:
- The note D, the chord’s root, is drawn on the staff.
- A snowperson is drawn—an F and A, the notes a generic third and a fifth above the D.
- The key signature of D major has been recalled. D major has two sharps, F♯ and C♯.
- A sharp (♯) has been added to the left of the F, because F♯ is in the key signature of D major. No C♯ was necessary because there is no C in the chord.
Let’s complete this process for an A♭ minor triad (A♭mi), as seen in
.- The note A♭ is written because it is the root of the triad.
- A snowperson is drawn; in other words, the notes C and E are added because they are a generic third and fifth, respectively, above A♭.
- The key signature of A♭ major is recalled. A♭ major has four flats: B♭, E♭, A♭, and D♭.
- E♭ is added, because it is in the key signature of A♭ major. B♭ and D♭ are not needed, because those notes aren’t in an A♭ triad. Now we have successfully spelled an A♭ major triad (A♭, C, and E♭).
- Minor triads contain a minor third, which is one half step smaller than a major third. Therefore, our final step is to lower the chord’s third (the C) by a half step (to a C♭). Now we have an A♭ minor triad (A♭, C♭, and E♭).
Don’t forget that diminished triads have a minor third and a diminished fifth, meaning you have to lower both the third and the fifth by a half step from a major triad. An augmented triad has a major third and an augmented fifth, so its fifth must be raised by a half step from a major triad.
Identifying Triads, Doubling, and Spacing
Triads are identified according to their root, quality, and inversion; inversion is discussed in the Inversion and Figured Bass chapter, so we will focus on root and quality for now. You can identify triads in three steps:
- Identify and write its root.
- Imagine the major key signature of its root.
- Identify and write its quality.
shows a triad for the process of identification.
https://musescore.com/user/32728834/scores/6876492/embed
To identify this triad:
- This triad is written in its most compact form, so the root is the lowest note, D.
- The key of D major has two sharps, F♯ and C♯; we can use this information to identify the quality of the triad.
- In this triad, the F is sharp, matching the major key signature. Therefore, we can correctly identify this as a D major triad.
Let’s apply the same steps to the triad in
:https://musescore.com/user/32728834/scores/6839467/embed
To identify this triad:
- First, we identify and write its root, which is C♯.
- Next, we can identify and write its quality. We imagine the key signature of C♯ major, which has seven sharps (every note is sharp).
- Therefore, E and G would be sharp in the key of C♯ major, but we see that they are both natural in . Because both the third and the fifth have been lowered by a half step, this triad is diminished. We can now correctly identify this triad as a C♯o triad.
If the bottom note of a triad has an imaginary key signature (because there is a double accidental that applies to it), use enharmonic equivalence to respell the triad. The process for this will be the same as that outlined in the last section of Intervals.
Because of the principle of octave equivalence, the doubling or spacing of notes does not affect a triad’s identification. shows several different triads and their chord symbols. As you can see, the identification of these triads is the same, regardless of octave doublings ( ) or the use of open spacing with wide intervals ( ). Doublings and open spacing can be combined, as seen in . In order to identify triads with doublings and open spacing, you need to either imagine or write the notes as a triad in closed spacing without any doublings.
https://musescore.com/user/32728834/scores/6839470/embed
- Introduction to Chords (musictheory.net)
- Triad Introduction (Robert Hutchinson)
- What is a Triad? (YouTube)
- Building Triads (YouTube)
- Constructing Triads (Columbia)
- Lead-sheet Symbols (Robert Hutchinson)
- Triad Identification Practice Tool (teoria)
- Chord Ear Training (musictheory.net)
- Triad Ear Training (Tone Dear)
- Triad Ear Training (teoria)
- Triad Identification (.pdf, .pdf, .pdf, .pdf, .pdf, .pdf, .pdf, .pdf)
- Triad Construction (.pdf), pp. 2, 4, 6, 7 (.pdf), p. 9 (.pdf)
- Triads Assignment #1 (.pdf, .mcsz)
- Triads Assignment #2 (.pdf, .mcsz)
- Triads Assignment #3 (.pdf, .mcsz)
- You may see other abbreviations in other contexts (a more exhaustive list is given in the Chord Symbols chapter). ↵
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a:link {
text-decoration: none;
}
button a:link {
text-decoration: none;
color: white;
}
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a:link {
text-decoration: none;
}
button {
background: yellow;
}
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a:link {
text-decoration: none;
}
.button {
background-color: yellow;
}
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a:link {
text-decoration: none;
}
.button {
background-color: ivory;
}
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a:link {
text-decoration: none;
}
.button {
background-color: ivory;
text-color: purple;
}
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a:link {
text-decoration: none;
}
.button {
background-color: ivory;
color: purple;
}
A term that summarizes the quality of the third, fifth, and seventh (if applicable) above the root of the chord. Common chord qualities are major, minor, diminished, half-diminished, dominant, and augmented.
Key Takeaways
- where it came from: not only Schoenberg, but also Hauer and others
- what it’s "really" about: a new world order, and if so an equalising or totalising one?
- tonal precedents in Bach and Haydn, and "tonal tone rows" in (for example) Alban Berg, Hale Smith, and Benjamin Britten
- "total" or "integral" serialism in (for example) Ruth Crawford Seeger, Milton Babbitt, Olivier Messiaen, Karlheinz Stockhausen, Pierre Boulez.
Why Serialism? What’s the Attraction?
Some grand narratives of 20th-century music cast atonality as a logical consequence of a historical trend toward ever more chromaticism, and serialism as a matter of creating a radically different kind of structure out of the total chromatic. It would appear to achieve that end, at least for composers who joined Schoenberg in viewing it as a “method of composing with twelve tones which are related only with one another” (1950, 107)—contrast that with the fundamentally hierarchical tonal system. It may not be coincidental that it emerged in interwar Europe, when there may well have been a desire to start anew.
Equal tones? A new world order? Maybe, but the method has served a wide range of composers with correspondingly diverse aims, so it’s not so straightforward to summarize. There’s also a totalizing angle here that’s rather less utopian. Schoenberg is famously alleged to have described "his" discovery as one "which will ensure the supremacy of German music for the next hundred years" (qtd. in Stuckenschmidt 1977, 277). Schoenberg may or may not have actually said this, but Boulez definitely did later describe every composer to have remained "outside the serial experiments" since their discovery as "useless" ("Schönberg est mort," Score, 1952, reproduced in Notes of an Apprenticeship, 1968, 274).
A Series of Precedents?
There is a great deal of precedent for general forms of musical thinking pertinent to serial technique, from simple melodic inversion to furiously complex crab canons, and certain works like Bach’s Art of Fugue are notable partly for the strictness and comprehensiveness of design in general, and the healthy dose of "mirror writing" in particular.
In these cases, the mirror is usually "horizontal," giving versions of the twelve-tone technique’s I-form. The R-form of retrograde symmetry (given by a "vertical" mirror, if you will) is a primarily 20th-century concern, serial and otherwise. Non-serial 20th-century examples include a great deal of Bartók, the prelude/postlude pair in Hindemith's Ludus Tonalis, and Britten's Cantata Academica mvt. 2 (tellingly titled Alla rovescio). There are earlier examples, such as the Menuet al Roverso from Haydn’s Symphony no. 47 in G, but they are very rare.
There are (equally rare and also rather dubious) cases of tonal works that are said to exhibit the specifically twelve-tone practice of rotating through all the pitches. Often-cited examples include the choice of keys in the development of the finale to Mozart’s Symphony no. 40.
Conversely, there are 20th-century composers who wrote music that is serially organized in the sense that we would recognize, but in such a way as to embrace the sound world of an extended tonality (
). Examples of this include:- Alban Berg's Violin Concerto, with its row centered on triads and fifths.
- Hale Smith's Evocation, which the composer notes to have an "affinity" with jazz. Among the "jazzy" and/or "tonal" elements of this piece is the foregrounding of set [0,2,7], which the scholar Horace J. Maxile Jr. links to "the quartal harmonic and improvisational stylings of bop and post-bop schools" (2004, 125).
- Benjamin Britten’s Turn of the Screw, which adopts a similarly quartal structure in the row from which both the theme and tonal centers for the acts are serially organized.
Speaking of "tonal serialism," the trappings of tonality are not limited to pitch: what composers do with the other parameters is equally important. It's often observed (usually critically) that Schoenberg's early serial works may have used the twelve-tone technique in the pitch domain, but still adopted tonal forms, rhythms, and idioms such as waltzes.
The Emergence and Evolution of the Twelve-Tone Technique
Schoenberg is intimately associated with the twelve-tone technique and was quite content to describe it as "his" discovery (as above), though many people arrived at the idea largely independently around the same time, notably including Josef Matthias Hauer and Herbert Eimert. Schoenberg famously discussed relevant considerations like the "emancipation of the dissonance" early on, but his thoughts on serialism only emerged later, after those two others.
Hauer’s theory as expressed in his Zwölftontechnik: Die Lehre von den Tropen (1926) is notable for its early formalization of the twelve-tone technique and for organizing the millions of possibilities into 44 "tropes" (types) of tone rows in four groups based on symmetries among the unordered hexachords (with the prefixes Poly-, Mono-, Endo-, and Exo-).
After the first generation of "classic" serialists, we start to see a wider range of serial practices emerge, including a move toward "integral" or "total" serialism, which applies serial technique to parameters other than pitch, particularly rhythm, dynamics, and articulation. I say "after," but Ruth Crawford Seeger was already writing what later came to be known as integral or total serialism as early as c. 1930.
The most frequently cited examples came later, in a burst around 1950:
- Milton Babbitt: Three Compositions for Piano (1947)
- Olivier Messiaen: Mode de valeurs et dʼintensités for piano (1949–50)
- Karlheinz Stockhausen: Kreuzspiel for oboe, bass clarinet, piano, and two percussion (1951)
- Pierre Boulez: Structures 1 for two pianos (1952)
There were also signs of this mentality already in those "classic" early works. For instance, in the first movement of Webern’s Symphonie Op.21 (discussed further in this chapter), the exposition sees pitch classes fixed in specific registers, and his Op. 27 Variations for Piano has pitches, durations, and dynamics all aligned (for instance, B and G♯ are always eight notes, legato, and forte).
Key Takeaways
- A beat is a pulse in music that regularly recurs.
- Simple meters are meters in which the beat divides into two, and then further subdivides into four.
- Duple meters have groupings of two beats, triple meters have groupings of three beats, and quadruple meters have groupings of four beats.
- There are different conducting patterns for duple, triple, and quadruple meters.
- A measure is equivalent to one group of beats (duple, triple, or quadruple). Measures are separated by bar lines.
- Time signatures in simple meters express two things: how many beats are contained in each measure (the top number), and the beat unit (the bottom number), which refers to the note value that is the beat.
- A beam visually connects notes together, grouping them by beat. Beaming changes in different time signatures.
- Notes below the middle line on a staff are up-stemmed, while notes above the middle line on a staff are down-stemmed. Flag direction works similarly.
In Rhythmic and Rest Values, we discussed the different rhythmic values of notes and rests. Musicians organize rhythmic values into various meters, which are—broadly speaking—formed as the result of recurrent patterns of accents in musical performances.
Terminology
Listen to the following performance by the contemporary musical group Postmodern Jukebox ( beat—a pulse in music that regularly recurs.
). They are performing a cover of the song "Wannabe" by the Spice Girls (originally released in 1996). Beginning at 0:11, it is easy to tap or clap along to this recording. What you are tapping along to is called a
simple meter: a meter in which the beat divides into two, and then further subdivides into four. You can feel this yourself by tapping your beat twice as fast; you might also think of this as dividing your beat into two smaller beats.
is in aDifferent numbers of beats group into different meters. Duple meters contain beats that are grouped into twos, while Triple meters contain beats that are grouped into threes, and Quadruple meters contain beats that are grouped into fours.
Listening to Simple Meters
Let's listen to examples of simple duple, simple triple, and simple quadruple meters. A simple duple meter contains two beats, each of which divides into two (and further subdivides into four). "The Stars and Stripes Forever" (1896), written by John Philip Sousa, is in a simple duple meter.
Listen to
, and tap along, feeling how the beats group into sets of two:
A simple triple meter contains three beats, each of which divides into two (and further subdivides into four). Wolfgang Amadeus Mozart's "Minuet in F major," K.2 (1774) is in a simple triple meter. Listen to , and tap along, feeling how the beats group into sets of three:
Finally, a simple quadruple meter contains four beats, each of which divides into two (and further subdivides into four). The song "Cake" (2017) by Flo Rida is in a simple quadruple meter. Listen to starting at 0:45 and tap along, feeling how the beats group into sets of four:
As you can hear and feel (by tapping along), musical compositions in a wide variety of styles are governed by meter. You might practice identifying the meters of some of your favorite songs or musical compositions as simple duple, simple triple, or simple quadruple; listening carefully and tapping along is the best way to do this. Note that simple quadruple meters feel similar to simple duple meters, since four beats can be divided into two groups of two beats. It may not always be immediately apparent if a work is in a simple duple or simple quadruple meter by listening alone.
Conducting Patterns
If you have ever sung in a choir or played an instrument in a band or orchestra, then you have likely had experience with a conductor. Conductors have many jobs. One of these jobs is to provide conducting patterns for the musicians in their choir, band, or orchestra. Conducting patterns serve two main purposes: first, they establish a tempo, and second, they establish a meter.
The three most common conducting patterns outline duple, triple, and quadruple meters. Duple meters are conducted with a downward/outward motion (step 1), followed by an upward motion (step 2), as seen in
. Triple meters are conducted with a downward motion (step 1), an outward motion (step 2), and an upward motion (step 3), as seen in . Quadruple meters are conducted with a downward motion (step 1), an inward motion (step 2), an outward motion (step 3), and an upward motion (step 4), as seen in :Beat 1 of each of these measures is considered a downbeat . A downbeat is conducted with a downward motion, and you may hear and feel that it has more "weight" or "heaviness" then the other beats. An upbeat is the last beat of any measure. Upbeats are conducted with an upward motion, and you may feel and hear that they are anticipatory in nature.
shows a short video demonstrating these three conducting patterns:
You can practice these conducting patterns while listening to
(duple), (triple), and (quadruple) above.Time Signatures
In Western musical notation, beat groupings (duple, triple, quadruple, etc.) are shown using bar lines, which separate music into measures (also called bars), as shown in
. Each measure is equivalent to one beat grouping.In simple meters, time signatures (also called meter signatures) express two things: 1) how many beats are contained in each measure, and 2) the beat unit (which note value gets the beat). Time signatures are expressed by two numbers, one above the other, placed after the clef ( ).
A time signature is not a fraction, though it may look like one; note that there is no line between the two numbers. In simple meters, the top number of a time signature represents the number of beats in each measure, while the bottom number represents the beat unit.
In simple meters, the top number is always 2, 3, or 4, corresponding to duple, triple, or quadruple beat patterns. The bottom number is usually one of the following:
- 2, which means the half note gets the beat.
- 4, which means the quarter note gets the beat.
- 8, which means the eighth note gets the beat.
You may also see the bottom number 16 (the sixteenth note gets the beat) or 1 (the whole note gets the beat) in simple meter time signatures.
There are two additional simple meter time signatures, which are 𝄴 (common time) and 𝄵 (cut time). Common time is the equivalent of [latex]\mathbf{^4_4}[/latex] (simple quadruple—four beats per measure), while cut time is the equivalent of [latex]\mathbf{^2_2}[/latex] (simple duple—two beats per measure).
Counting in Simple Meter
Counting rhythms aloud is important for musical performance; as a singer or instrumentalist, you must be able to perform rhythms that are written in Western musical notation. Conducting while counting rhythms is highly recommended and will help you to keep a steady tempo. Please note that your instructor may employ a different counting system. Open Music Theory privileges American traditional counting, but this is not the only method.
shows a rhythm in a [latex]\mathbf{^4_4}[/latex] time signature, which is a simple quadruple meter. This time signature means that there are four beats per measure (the top 4) and that the quarter note gets the beat (the bottom 4).
- In each measure, each quarter note gets a count, expressed with Arabic numerals—"1, 2, 3, 4."
- When notes last longer than one beat (such as a half or whole note in this example), the count is held over multiple beats. Beats that are not counted out loud are written in parentheses.
- When the beat in a simple meter is divided into two, the divisions are counted aloud with the syllable “and,” which is usually notated with the plus sign (+). So, if the quarter note gets the beat, the second eighth note in each beat would be counted as “and.”
- Further subdivisions at the sixteenth-note level are counted as “e” (pronounced as a long vowel, as in the word “see”) and “a” (pronounced “uh”). At the thirty-second-note level, further subdivisions add the syllable “ta” in between each of the previous syllables.
Simple duple meters have only two beats and simple triple meters have only three, but the subdivisions are counted the same way (
).
Like with notes that last for two or more beats, beats that are not articulated because of rests, ties, and dots are also not counted out loud. These beats are usually written in parentheses, as shown in
:
When an example begins with a pickup note (anacrusis), your count will not begin on "1," as shown in . An anacrusis is counted as the last note(s) of an imaginary measure. When a work begins with an anacrusis, the last measure is usually shortened by the length of the anacrusis. This is demonstrated in : the anacrusis is one quarter note in length, so the last measure is only three beats long (i.e., it is missing one quarter note).
Counting with Beat Units of 2, 8, and 16
In simple meters with other beat units (shown in the bottom number of the time signature), the same counting patterns are used for the beats and subdivisions, but they correspond to different note values.
shows a rhythm with a [latex]\mathbf{^4_4}[/latex] time signature, followed by the same rhythms with different beat units. Each of these rhythms sounds the same and is counted the same. They are also all considered simple quadruple meters. The difference in each example is the bottom number of the time signature—which note gets the beat unit (quarter, half, eighth, or sixteenth).
Beaming, Stems, Flags, and Multi-Measure Rests
Beams connect notes together by beat. As shows, this means that beaming changes depending on the time signature. In the first measure, sixteenth notes are grouped into sets of four, because four sixteenth notes in a [latex]\mathbf{^4_4}[/latex] time signature are equivalent to one beat. In the second measure, however, sixteenth notes are grouped into sets of two, because one beat in a [latex]\mathbf{^4_8}[/latex] time signature is only equivalent to two sixteenth notes.
Note that in vocal music, beaming is sometimes only used to connect notes sung on the same syllable. If you are accustomed to music without beaming, you may need to pay special attention to beaming conventions until you have mastered them. In the top staff of
, the eighth notes are not grouped with beams, making it difficult to see where beats 2 and 3 in the triple meter begin. The bottom staff shows that if we re-notate the rhythm so that the notes that fall within the same beat are grouped together with a beam, it makes the music much easier to read. Note that these two rhythms sound the same, even though they are beamed differently. The ability to group events according to a hierarchy is an important part of human perception, which is why beaming helps us visually parse notated musical rhythms—the metrical structure provides a hierarchy that we show using notational tools like beaming.shows several different note values beamed together to show the beat unit. The first line does not require beams because quarter notes are never beamed, but all subsequent lines do need beams to clarify beats.
The second measure of
shows that when notes are grouped together with beams, the stem direction is determined by the note farthest from the middle line. On beat 1 of measure 2, this note is E5, which is above the middle line, so down-stems are used. Beat 2 uses up-stems because the note farthest from the middle line is the E4 below it.Flagging is determined by stem direction (
). Notes above the middle line receive a down-stem (on the left) and an inward-facing flag (facing right). Notes below the middle line receive an up-stem (on the right) and an outward-facing flag (facing left). Notes on the middle line can be flagged in either direction, usually depending on the contour of the musical line.Partial beams can be used for mixed rhythmic groupings, as shown in
. Sometimes these beaming conventions look strange to students who have had less experience with reading beamed music. If this is the case, you will want to pay special attention to how the notes in are beamed.
Rests that last for multiple full measures are sometimes notated as seen in
. This example indicates that the musician is to rest for a duration of four full measures.A Note on Ties
We have already encountered ties that can be used to extend a note over a measure line. But ties can also be used like beams to clarify the metrical structure within a measure. In the first measure of
, beat 2 begins in the middle of the eighth note, making it difficult to see the metrical structure. Breaking the eighth note into two sixteenth notes connected by a tie, as shown in the second measure, clearly shows the beginning of beat 2.- Simple Meter Tutorial (musictheory.net)
- Video Tutorial on Simple Meter, Beats, and Beaming (YouTube)
- Conducting Patterns (YouTube)
- Simple Meter Time Signatures (liveabout.com)
- Video Tutorial on Counting Simple Meters (One Minute Music Lessons)
- Simple Meter Counting (YouTube)
- Beaming Rules (Music Notes Now)
- Beaming Examples (Dr. Sebastian Anthony Birch)
- Time Signatures and Rhythms (.pdf)
- Terminology, Bar Lines, Fill-in-rhythms, Re-beaming (.pdf)
- Meters, Time Signatures, Re-beaming (website)
- Bar Lines, Time Signatures, Counting (.pdf)
- Time Signatures, Re-beaming, p. 4 (.pdf)
- Fill-in-rhythms (.pdf)
- Time Signatures (.pdf, .pdf)
- Bar Lines (.pdf, .pdf, .pdf)
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a {
text-decoration: none;
color: blue;
text-transform: uppercase;
}
At the end of each chapter, you may find Assignments linked for that chapter. Those same assignments are also gathered here in a single table for convenient browsing.
Use arrows in the cells on the header row to sort the table alphabetically. Use the "Search" function to filter by the words in your search.
Last updated: [table “65” not found /]
| Book order | Part | Chapter | Assignments |
|---|---|---|---|
| 1 | I. Fundamentals | Introduction to Western Musical Notation |
|
| 2 | I. Fundamentals | Notation of Notes, Clefs, and Ledger Lines |
|
| 3 | I. Fundamentals | Reading Clefs |
|
| 4 | I. Fundamentals | The Keyboard and the Grand Staff |
|
| 5 | I. Fundamentals | Half Steps, Whole Steps, and Accidentals |
|
| 6 | I. Fundamentals | American Standard Pitch Notation (ASPN) |
|
| 7 | I. Fundamentals | Other Aspects of Notation |
|
| 8 | I. Fundamentals | Notating Rhythm |
|
| 9 | I. Fundamentals | Simple Meter and Time Signatures |
|
| 10 | I. Fundamentals | Compound Meter and Time Signatures |
|
| 11 | I. Fundamentals | Other Rhythmic Essentials |
|
| 12 | I. Fundamentals | Major Scales, Scale Degrees, and Key Signatures |
|
| 13 | I. Fundamentals | Minor Scales, Scale Degrees, and Key Signatures |
|
| 14 | I. Fundamentals | Introduction to Diatonic Modes and the Chromatic “Scale” |
|
| 15 | I. Fundamentals | Intervals |
|
| 16 | I. Fundamentals | Triads |
|
| 17 | I. Fundamentals | Seventh Chords |
|
| 18 | I. Fundamentals | Inversion and Figured Bass |
|
| 19 | I. Fundamentals | Roman Numerals and SATB Chord Construction | |
| 20 | I. Fundamentals | Texture |
|
| 21 | II. Counterpoint and Galant Schemas | Introduction to Species Counterpoint |
|
| 22 | II. Counterpoint and Galant Schemas | First-Species Counterpoint |
|
| 23 | II. Counterpoint and Galant Schemas | Second-Species Counterpoint |
|
| 24 | II. Counterpoint and Galant Schemas | Third-Species Counterpoint |
|
| 25 | II. Counterpoint and Galant Schemas | Fourth-Species Counterpoint |
|
| 26 | II. Counterpoint and Galant Schemas | Fifth-Species Counterpoint |
|
| 27 | II. Counterpoint and Galant Schemas | Gradus ad Parnassum Exercises | |
| 28 | II. Counterpoint and Galant Schemas | 16th-Century Contrapuntal Style |
|
| 29 | II. Counterpoint and Galant Schemas | High Baroque Fugal Exposition |
|
| 30 | II. Counterpoint and Galant Schemas | Ground Bass |
|
| 31 | II. Counterpoint and Galant Schemas | Galant Schemas – Summary | |
| 32 | II. Counterpoint and Galant Schemas | Galant schemas – The Rule of the Octave and Harmonizing the Scale with Sequences |
|
| 33 | II. Counterpoint and Galant Schemas | Galant Schemas |
|
| 34 | III. Form | Foundational Concepts for Phrase-Level Forms |
|
| 35 | III. Form | The Phrase, Archetypes, and Unique Forms |
|
| 36 | III. Form | Hybrid Phrase-Level Forms |
|
| 37 | III. Form | Expansion and Contraction at the Phrase Level |
|
| 38 | III. Form | Formal Sections in General | |
| 39 | III. Form | Binary Form |
|
| 40 | III. Form | Ternary Form |
|
| 41 | III. Form | Sonata Form |
|
| 42 | III. Form | Rondo |
|
| 43 | IV. Diatonic Harmony, Tonicization, and Modulation | Introduction to Harmony, Cadences, and Phrase Endings |
|
| 44 | IV. Diatonic Harmony, Tonicization, and Modulation | Strengthening Endings with V7 |
|
| 45 | IV. Diatonic Harmony, Tonicization, and Modulation | Strengthening Endings with Strong Predominants |
|
| 46 | IV. Diatonic Harmony, Tonicization, and Modulation | Embellishing Tones |
|
| 47 | IV. Diatonic Harmony, Tonicization, and Modulation | Strengthening Endings with Cadential 6/4 |
|
| 48 | IV. Diatonic Harmony, Tonicization, and Modulation | Prolonging Tonic at Phrase Beginnings with V6 and Inverted V7s | |
| 49 | IV. Diatonic Harmony, Tonicization, and Modulation | Performing Harmonic Analysis Using the Phrase Model |
|
| 50 | IV. Diatonic Harmony, Tonicization, and Modulation | Prolongation at Phrase Beginnings using the Leading-Tone Chord |
|
| 51 | IV. Diatonic Harmony, Tonicization, and Modulation | 6/4 Chords as Forms of Prolongation |
|
| 52 | IV. Diatonic Harmony, Tonicization, and Modulation | Plagal Motion as a Form of Prolongation |
|
| 53 | IV. Diatonic Harmony, Tonicization, and Modulation | La (Scale Degree 6) in the Bass at Beginnings, Middles, and Endings |
|
| 54 | IV. Diatonic Harmony, Tonicization, and Modulation | The Mediant Harmonizing Mi (Scale Degree 3) in the Bass |
|
| 55 | IV. Diatonic Harmony, Tonicization, and Modulation | Predominant Seventh Chords |
|
| 56 | IV. Diatonic Harmony, Tonicization, and Modulation | Tonicization |
|
| 57 | IV. Diatonic Harmony, Tonicization, and Modulation | Extended Tonicization and Modulation to Closely Related Keys |
|
| 58 | V. Chromaticism | Modal Mixture |
|
| 59 | V. Chromaticism | Neapolitan 6th (♭II6) |
|
| 60 | V. Chromaticism | Augmented Sixth Chords |
|
| 61 | V. Chromaticism | Common-Tone Chords (CTº7 & CT+6) |
|
| 62 | V. Chromaticism | Harmonic Elision |
|
| 63 | V. Chromaticism | Chromatic Modulation |
|
| 64 | V. Chromaticism | Reinterpreting Diminished Seventh Chords |
|
| 65 | V. Chromaticism | Augmented Options |
|
| 66 | V. Chromaticism | Equal Divisions of the Octave |
|
| 67 | V. Chromaticism | Chromatic Sequences |
|
| 68 | V. Chromaticism | Parallel Chromatic Sequences |
|
| 69 | V. Chromaticism | The Omnibus Progression |
|
| 70 | V. Chromaticism | Altered and Extended Dominant Chords |
|
| 71 | V. Chromaticism | Neo-Riemannian Triadic Progressions |
|
| 72 | V. Chromaticism | Mediants |
|
| 73 | VI. Jazz | Swing Rhythms |
|
| 74 | VI. Jazz | Chord Symbols |
|
| 75 | VI. Jazz | Jazz Voicings |
|
| 76 | VI. Jazz | ii–V–I | |
| 77 | VI. Jazz | Embellishing Chords |
|
| 78 | VI. Jazz | Substitutions |
|
| 79 | VI. Jazz | Chord-Scale Theory |
|
| 80 | VI. Jazz | Blues Harmony |
|
| 81 | VI. Jazz | Blues Melodies and the Blues Scale |
|
| 82 | VII. Popular Music | Rhythm and Meter in Pop Music |
|
| 83 | VII. Popular Music | Drumbeats |
|
| 84 | VII. Popular Music | Melody and Phrasing |
|
| 85 | VII. Popular Music | Introduction to Form in Popular Music | |
| 86 | VII. Popular Music | AABA Form and Strophic Form |
|
| 87 | VII. Popular Music | Verse-Chorus Form |
|
| 88 | VII. Popular Music | Introduction to Harmonic Schemas in Pop Music | |
| 89 | VII. Popular Music | Blues-Based Schemas |
|
| 90 | VII. Popular Music | Four-Chord Schemas |
|
| 91 | VII. Popular Music | Classical Schemas (in a Pop Context) |
|
| 92 | VII. Popular Music | Puff Schemas |
|
| 93 | VII. Popular Music | Modal Schemas |
|
| 94 | VII. Popular Music | Pentatonic Harmony |
|
| 95 | VII. Popular Music | Fragile, Absent, and Emergent Tonics |
|
| 96 | VIII. 20th- and 21st-Century Techniques | Twentieth-Century Rhythmic Techniques | |
| 97 | VIII. 20th- and 21st-Century Techniques | Pitch and Pitch Class |
|
| 98 | VIII. 20th- and 21st-Century Techniques | Intervals in Integer Notation |
|
| 99 | VIII. 20th- and 21st-Century Techniques | Pitch-Class Sets, Normal Order, and Transformations |
|
| 100 | VIII. 20th- and 21st-Century Techniques | Set Class and Prime Form |
|
| 101 | VIII. 20th- and 21st-Century Techniques | Interval-Class Vectors |
|
| 102 | VIII. 20th- and 21st-Century Techniques | Analyzing with Set Theory (or not!) |
|
| 103 | VIII. 20th- and 21st-Century Techniques | Diatonic Modes |
|
| 104 | VIII. 20th- and 21st-Century Techniques | Collections |
|
| 105 | VIII. 20th- and 21st-Century Techniques | Analyzing with Modes, Scales, and Collections |
|
| 106 | IX. Twelve-Tone Music | Basics of Twelve-Tone Theory |
|
| 107 | IX. Twelve-Tone Music | Naming Conventions for Rows |
|
| 108 | IX. Twelve-Tone Music | Row Properties |
|
| 109 | IX. Twelve-Tone Music | Analysis Examples – Webern Op. 21 and 24 | |
| 110 | IX. Twelve-Tone Music | Composing with Twelve Tones |
|
| 111 | IX. Twelve-Tone Music | History and Context of Serialism | |
| 112 | X. Orchestration | Core Principles of Orchestration |
|
| 113 | X. Orchestration | Subtle Color Changes |
|
| 114 | X. Orchestration | Transcription from Piano |
|
| 115 | XI. Rhythm and Meter | Notating Rhythm [crosslist] |
|
| 116 | XI. Rhythm and Meter | Simple Meter and Time Signatures [crosslist] |
|
| 117 | XI. Rhythm and Meter | Compound Meter and Time Signatures [crosslist] |
|
| 118 | XI. Rhythm and Meter | Other Rhythmic Essentials [crosslist] |
|
| 119 | XI. Rhythm and Meter | Hypermeter |
|
| 120 | XI. Rhythm and Meter | Metrical Dissonance |
|
| 121 | XI. Rhythm and Meter | Swing Rhythms [crosslist] |
|
| 122 | XI. Rhythm and Meter | Rhythm and Meter in Pop Music [crosslist] |
|
| 123 | XI. Rhythm and Meter | Drumbeats [crosslist] |
|
| 124 | XI. Rhythm and Meter | Twentieth-Century Rhythmic Techniques [crosslist] |
|
Ordering the notes of a chord so that it is entirely stacked in thirds. The root of the chord is on the bottom.
This page provides a list of rows used in the repertoire in the form of a:
- Tabular list of all the rows collected (roughly 1,600);
- Musical representation of those rows in 'open' values (quarter notes, no stems) and properties labelled;
- Structured anthology, re-organising the rows by property (e.g. with a list of the all-interval rows).
As the twelve-tone part of this textbook is at pains to point out, it's not always straightforward (or indeed musically relevant) to identify a single main row. Indeed it's not always clear what counts as 'serial'. That being the case, no list of this kind can aim to be 'definitive'. All the same, it's very useful to see at least some rows gathered together and compared.[1]
Tabular List
[table “58” not found /]
Musical Notation
Rows in the Repertoire by FourScoreAndMore
Anthology
The following sections interpret that list somewhat, looking for the presence of certain properties. For a longer introduction to what these properties mean, please see the Row Properties chapter.
Re-used Rows
We begin with rows used more than once in this collection. This takes account of transposition (by comparing P0 forms), but not inversion or retrograde equivalence. This list is short and largely limited to "famous" rows like the so-called "mother" chord (Berg, Ginastera, Klein) and cases of homage such as the Boulez-Messiaen and Payne-Lutyens pairs.
- [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6]: Babbitt, Milton: Composition for Four Instruments; Schwantner, Joseph: In Aeternum (Derived Row)
- [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5]: Babbitt, Milton: Relata I; Babbitt, Milton: Relata II
- [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]: Babbitt, Milton: Semi-simple variations; Stockhausen, Karlheinz: Gruppen; Stockhausen, Karlheinz: Klavierstück IX; Stockhausen, Karlheinz: Klavierstück VII; Stockhausen, Karlheinz: Klavierstück X
- [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6]: Babbitt, Milton: String Quartet, No.2; Morris, Robert: Roundelay, row 5
- [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7]: Bach, Johann Sebastian: Chromatische Fantasie; Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2
- [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2]: Baker, David: “Status Symbol” from "The Black Experience"; Seiber, Mátyás: Ulysses; Spinner, Leopold: String Quartet, No.2, Op.7
- [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6]: Barber, Samuel: Piano Sonata, Op.26; Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals)
- [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]: Berg, Alban: Lyric Suite, Primary Row / mvt I; Berg, Alban: Schliesse mir die Augen Beide; Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III; Klein, Fritz: Die Maschine: Eine extonale Selbstsatire, Op.1; Klein, Fritz Heinrich: Variationen, Op.14; Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions - With all Different Intervals. (Mother Chord)
- [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3]: Berg, Alban: Lyric Suite, mvt I; Eisler, Hanns: Der Zweck der Musik; Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns)
- [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]: Boulez, Pierre: Le Marteau sans Maître, cycle of Bourreaux de solitude; Lackner, Peter: INITIUM TRIPLEX. 28. Juni 2016; für drei Tasteninstrumente; Lackner, Peter: Kanon für drei Klaviere. 28. 6. 2016; Slonimsky, Nicholas: No. 648-654 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts); Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 1
- [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8]: Boulez, Pierre: Structures Ia; Messiaen, Olivier: Mode de valeurs et d'intensités, Series 1
- [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]: Britten, Benjamin: The Turn of the Screw; Lackner, Peter: Kanon T2 à 6; Slonimsky, Nicholas: No. 1219a Fourths (Twelve-Tone Patterns); Slonimsky, Nicholas: No. 572 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts); Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 5
- [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]: Carter, Elliott: String Quartet, No.2 (sketch) 2; Slonimsky, Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads); Slonimsky, Nicholas: No. 407 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 469 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 512 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
- [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6]: Dallapiccola, Luigi: Canti di Liberazione; Dallapiccola, Luigi: Quaderno musicale di Annalibera; Dallapiccola, Luigi: Variazioni per orchestra
- [0, 6, 11, 10, 1, 3, 5, 8, 7, 2, 4, 9]: Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.1; Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.1 (first row)
- [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9]: Eisler, Hanns: Praeludium und Fuge über B-A-C-H for String Trio, Op.46; Slonimsky, Nicholas: No. 578 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts); Slonimsky, Nicholas: No. 579 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts); Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 11
- [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]: Fine, Vivian: Chaconne for piano; Ginastera, Alberto: Quintet, Op.29, Row Class VII S; Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1233a (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1318 Invertible Dodecaphonic Progressions - With all Different Intervals. (Grandmother Chord)
- [0, 9, 3, 7, 4, 10, 2, 6, 1, 8, 11, 5]: Florey, Hans: Griechisch-lateinisches Quadrat der Ordnung 4 mit Fuge in Klangnotation; Hauer, Josef Matthias: Tanz [Zwölftonspiel] im langsamen 3/4 Takt für zwei Violinen, zwei Bratschen und Klavier zu zwei Händen; Hauer, Josef Matthias: Zwölftonmusik [Zwölftonspiel] für Klavier zu vier Händen. Februar 1959 (Fragment)
- [0, 1, 4, 6, 5, 3, 11, 10, 9, 7, 8, 2]: Florey, Hans: Kanonvariationen; Hauer, Josef Matthias: 1. canonic Example from the theoretical work 'Zwölftontechnik'
- [0, 4, 6, 3, 8, 9, 7, 2, 1, 5, 11, 10]: Florey, Hans: Kleiner Doppelkanon; Florey, Hans: Magisches Quadrat der Ordnung 3
- [0, 10, 1, 7, 4, 6, 5, 8, 3, 9, 2, 11]: Florey, Hans: Magischer Würfel mit 6 Spiegelpunkten; Florey, Hans: Sechs Kanonzyklen einunddesselben magischen Quadrates
- [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]: Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano; Lang, Bernhard: Der Reigen; Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions - With all Different Intervals
- [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7]: Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2; Ginastera, Alberto: Violin Concerto, Op.30
- [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10]: Ginastera, Alberto: Quintet, Op.29, Row Class III 2; Ginastera, Alberto: Quintet, Op.29, Row Class VII 2
- [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]: Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 1; Slonimsky, Nicholas: No. 655-657 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts); Slonimsky, Nicholas: No. 793 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts); Slonimsky, Nicholas: No. 822 Ultrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts); Slonimsky, Nicholas: No. 824 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts)
- [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1]: Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2; Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads)
- [0, 9, 3, 2, 11, 6, 5, 1, 8, 7, 4, 10]: Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 3; Slonimsky, Nicholas: No. 1266b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads)
- [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2]: Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 5; Slonimsky, Nicholas: No. 370 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts)
- [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6]: Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6; Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns)
- [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7]: Gotham, Mark: Move On!; Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 5
- [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5]: Hauer, Josef Matthias: 'Salambo', opera after Gustave Flaubert;, Op.60; Lackner, Peter: Salambo-Kanon (à 4); Bad Aussee, 2. Februar 2008; Matthias, Josef: Salambo, Op.60
- [0, 9, 6, 11, 4, 1, 10, 5, 2, 8, 3, 7]: Hauer, Josef Matthias: Hausmusik [Zwölftonspiel] für Klavier zu vier Händen. September 1958; Hauer, Josef Matthias: Schulmusik für zwei Klaviere. 3. Oktober 1958; Hauer, Josef Matthias: Tanz [Zwölftonspiel] im langsamen 3/4 Takt für Violine, Bratsche und Klavier zu vier Händen. 6. September 1958; Hauer, Josef Matthias: Zwölftonspiel 22. Mai 1958; für zwei Violinen, Bratsche, Cello und Klavier zu zwei Händen; Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen
- [0, 5, 7, 3, 9, 6, 11, 2, 8, 4, 1, 10]: Hauer, Josef Matthias: Nomos; Hauer, Josef Matthias: Nomos, Op.19 (bb.1-36)
- [0, 9, 8, 5, 10, 2, 11, 6, 3, 7, 4, 1]: Hauer, Josef Matthias: Zwölftonspiel 26. August 1948; für Violine und Klavier; Hauer, Josef Matthias: Zwölftonspiel für Violine allein mit einer Zwölftonreihe von Dr. Ernst Weidinger
- [0, 9, 6, 2, 3, 10, 8, 5, 4, 7, 11, 1]: Hauer, Josef Matthias: Zwölftonspiel 28. August 1948; für Violine und Klavier; Hauer, Josef Matthias: Zwölftonspiel 31. August 1948; für Violine (Flöte) und Klavier; Hauer, Josef Matthias: Zwölftonspiel 31. August 1948; für Violine und Klavier; 2. Fassung; Hauer, Josef Matthias: Zwölftonspiel für Violine und Cembalo [Klavier]. 27. August 1948
- [0, 4, 2, 9, 10, 6, 11, 1, 7, 3, 8, 5]: Hauer, Josef Matthias: Zwölftonspiel 5. September 1957; für Violine, Bratsche und Klavier; Hauer, Josef Matthias: Zwölftonspiel 9. September 1957; für vier Solostimmen [S, A, T, B], Violine, Bratsche und Klavier
- [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5]: Hauer, Josef Matthias: Zwölftonspiel für Flöte, Horn, Violine, Bratsche, Cello und Klavier; Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier; Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche und Cello ('Ins Räumliche übertragen'). 3. September 1953; Hauer, Josef Matthias: Zwölftonspiel in drei Teilen für zwei Violinen, Bratsche und Cello. 31. Juli 1953
- [0, 6, 11, 4, 2, 9, 3, 1, 5, 7, 10, 8]: Hauer, Josef Matthias: Zwölftonspiel für Klavier. 11. Juni 1955; Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. Mai 1955
- [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2]: Hauer, Josef Matthias: Zwölftonspiel für Orchester. 28. 9. 1954; hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954
- [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6]: Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.1; Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts)
- [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5]: Krenek, Ernst: Studies in Counterpoint; Krenek, Ernst: Studies in Counterpoint (i); Krenek, Ernst: Suite, Op.84 for solo cello
- [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6]: Krenek, Ernst: Studies in Counterpoint (ii); Krenek, Ernst: Symeon, der Stylit
- [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8]: Lackner, Peter: 'Der Winter'; Lackner, Peter: Kanon für Klavierquartett. 27. April 1991
- [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5]: Lackner, Peter: 'Euphorbia obesa'. Kanon für Oboe, Englischhorn und Fagott.; Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004
- [0, 3, 5, 11, 7, 10, 1, 8, 4, 9, 6, 2]: Lackner, Peter: 'Lied des Harfenmädchens' für Frauenstimme und Klavier; Lackner, Peter: 'Lied des Harfenmädchens II' für Flöte, Klarinette, Posaune, Violine, Cello und Klavier
- [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6]: Lackner, Peter: 'Ständchen' für zwei Violinen und zwei Bratschen. 1913,2013; Lackner, Peter: Kanon für Violine, Bratsche und Klavier; Lackner, Peter: Kanon á 4
- [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8]: Lackner, Peter: 'Wo ist der Freund' (erstes Lied aus dem Zyklus 'Wilde Erdbeeren' für Singstimme und Klavier); Lackner, Peter: Moebius-Band für Flöte, Violine, Violoncello und Klavier; Lackner, Peter: Moebius-Band für sechs Violinen
- [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6]: Lackner, Peter: 2. Kanonzyklus; Lackner, Peter: Kanon für Flöte und Elektronik. Februar 1999
- [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2]: Lackner, Peter: 3. Kanonzyklus; Lackner, Peter: Kanon für Klavier
- [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8]: Lackner, Peter: 4. Kanonzyklus; Lackner, Peter: Kanon für Flöte, Akkordeon, zwei Violinen, Bratsche und Klavier; Lackner, Peter: Kanon für Klavier. April 2000
- [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3]: Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008; Lackner, Peter: Kanon für Streichquartett. 22.September 2003
- [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4]: Lackner, Peter: Kanon T3 à 4; Slonimsky, Nicholas: No. 499 Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
- [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8]: Lackner, Peter: Kanon für Cello und Klavier; Lackner, Peter: Kanon für Klavier. 5. April 1989; Lackner, Peter: Kanon für Violine und Violoncello
- [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2, 3]: Lackner, Peter: Kanon für Klavier zu vier Händen. Frühling 1984; Lackner, Peter: Kanon für zwei Violinen und Klavier. Frühjahr 1984
- [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5]: Lackner, Peter: Kanon für acht Instrumente. Dezember 1991, März 2007; Lackner, Peter: Kanon für drei Bratschen
- [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]: Liszt, Franz: Eine Faust Symphonie; Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 1; Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads)
- [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]: Luo, Zhong-Rong: Chang'e; Slonimsky, Nicholas: No. 1246a Crossing Fourths (Crossing Intervals); Wuorinen, Charles: Third Piano Sonata
- [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4]: Luo, Zhong-Rong: Dusk, row 1; Luo, Zhong-Rong: Evening
- [0, 2, 5, 7, 4, 11, 6, 8, 1, 3, 9, 10]: Luo, Zhong-Rong: Sonatina, mvt 2; Luo, Zhong-Rong: String Quartet, No.3, row 2
- [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]: Lutosławski, Witold: Musique Funébre (Funeral Music); Schnittke, Alfred: Piano Sonata, No.1, mvt 2, mm. 72-76; Slonimsky, Nicholas: No. 875 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts)
- [0, 6, 11, 10, 8, 7, 9, 1, 3, 2, 4, 5]: Lutyens, Elisabeth: The Valley of Hatsu'se; Payne, Antony: Miniature Variations on a Theme of E.L.
- [0, 7, 2, 3, 6, 9, 10, 1, 4, 5, 8, 11]: Maderna, Bruno: Quartetto; Maderna, Bruno: Streichquartett (Basisreihe 1)
- [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]: Messiaen, Olivier: Livre d'orgue; Nono, Luigi: Canti per tredeci; Nono, Luigi: Cori di Didone; Nono, Luigi: Il canto sospeso; Nono, Luigi: La terra e la compagna (sketch), Series 1; Zimmermann, Bernd Alois: 'Ich wandte mich um und sah alles Unrecht das geschah unter der Sonne'
- [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]: Morris, Robert: Knot Lilacs; Morris, Robert: Not Lilacs; Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions - With all Different Intervals
- [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11]: Nono, Luigi: Ha venido; Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 6
- [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10]: Nono, Luigi: Intolleranza, Tenor 2; Slonimsky, Nicholas: No. 637 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts)
- [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2]: Nono, Luigi: Variazioni canoniche sulla serie dell'Op.41 di Arnold Schönberg; Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2)
- [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]: Sande, Henrik: 4032 Töne für Klavier sechshändig; Slonimsky, Nicholas: No. 1220a Fifths (Twelve-Tone Patterns); Slonimsky, Nicholas: No. 1221a Fifths (Twelve-Tone Patterns); Slonimsky, Nicholas: No. 1222aFifths (Twelve-Tone Patterns); Slonimsky, Nicholas: No. 574 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts); Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 7
- [0, 2, 3, 6, 7, 11, 1, 9, 4, 8, 5, 10]: Santoro, Claudio: Invenções a duas vozes (Two-Part inventions); Santoro, Claudio: Sonata 1942
- [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7]: Schnittke, Alfred: Concerto Grosso, No.3, monogram 1; Schnittke, Alfred: Concerto Grosso, No.3
- [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5]: Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new row; Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal Division of Five Octaves into Six Parts)
- [0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10]: Slonimsky, Nicholas: No. 1237a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1297a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns)
- [0, 11, 2, 9, 4, 7, 6, 5, 8, 3, 10, 1]: Slonimsky, Nicholas: No. 1239a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals); Slonimsky, Nicholas: No. 1250a Crossing Seconds (Crossing Intervals)
- [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11]: Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads); Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads)
- [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11]: Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads); Slonimsky, Nicholas: No. 753 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts)
- [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7]: Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads); Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 8
- [0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3]: Slonimsky, Nicholas: No. 1298a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns); Slonimsky, Nicholas: No. 1300a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns)
- [0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11]: Slonimsky, Nicholas: No. 1298b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns); Slonimsky, Nicholas: No. 1300b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns)
- [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2]: Slonimsky, Nicholas: No. 388 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts); Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts)
- [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2]: Slonimsky, Nicholas: No. 389 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts); Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts)
- [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4]: Slonimsky, Nicholas: No. 410 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 466 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts)
- [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2]: Slonimsky, Nicholas: No. 415 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 505 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
- [0, 11, 4, 3, 2, 7, 6, 5, 10, 9, 8, 1]: Slonimsky, Nicholas: No. 417 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 500 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
- [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4]: Slonimsky, Nicholas: No. 420 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 456 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 503 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
- [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5]: Slonimsky, Nicholas: No. 459 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts); Slonimsky, Nicholas: No. 508 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts)
- [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1]: Slonimsky, Nicholas: No. 643 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts); Slonimsky, Nicholas: No. 644 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts)
- [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10]: Slonimsky, Nicholas: No. 749 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts); Slonimsky, Nicholas: No. 799 Infra-Infrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts)
- [0, 8, 1, 11, 10, 7, 5, 9, 4, 6, 3, 2]: Stockhausen, Karlheinz: Klavierstück "V.5 or Pre-VI" (row of original 1954 version); Stockhausen, Karlheinz: Klavierstück VIII
- [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6]: Zappa, Frank: Brown Shoes Don't Make It; Zappa, Frank: Waltz
All-Interval
All-interval rows go through all 11 different intervals (1, 2, 3, ... 11) between neighbouring pitches in the row.
- Babbitt, Milton: Du, row i, [0, 9, 2, 10, 11, 1, 7, 5, 4, 8, 3, 6]
- Babbitt, Milton: Du, row ii, [0, 5, 2, 10, 9, 7, 1, 3, 4, 8, 11, 6]
- Babbitt, Milton: Partitions, [0, 7, 9, 10, 2, 11, 5, 8, 4, 3, 1, 6]
- Babbitt, Milton: Semi-simple variations, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Babbitt, Milton: Sounds and Words, [0, 9, 2, 4, 8, 3, 11, 10, 1, 7, 5, 6]
- Babbitt, Milton: String Quartet, No.2, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6]
- Babbitt, Milton: The Widow's Lament in Springtime, [0, 11, 9, 2, 10, 7, 1, 4, 8, 3, 5, 6]
- Babbitt, Milton: Three Compositions for Piano, No.1, [0, 5, 7, 4, 2, 3, 9, 1, 8, 11, 10, 6]
- Berg, Alban: Lyric Suite, Primary Row / mvt I, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Berg, Alban: Schliesse mir die Augen Beide, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Carter, Elliott: A Symphony of Three Orchestras, [0, 8, 7, 10, 4, 5, 2, 9, 11, 3, 1, 6]
- Carter, Elliott: Caténaires, [0, 8, 5, 3, 7, 9, 10, 4, 11, 2, 1, 6]
- Carter, Elliott: Night Fantasies, [0, 10, 3, 11, 8, 7, 1, 2, 5, 9, 4, 6]
- Carter, Elliott: String Quartet, No.3, [0, 11, 2, 9, 5, 3, 4, 8, 10, 7, 1, 6]
- Dallapiccola, Luigi: Piccola musica notturna, [0, 9, 1, 3, 4, 11, 2, 8, 7, 5, 10, 6]
- Fine, Vivian: Chaconne for piano, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]
- Ginastera, Alberto: Quintet, Op.29, Row Class VII S, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Klein, Fritz: Die Maschine: Eine extonale Selbstsatire, Op.1, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Klein, Fritz Heinrich: Variationen, Op.14, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Krenek, Ernst: Quaestio temporis, Op.170, [0, 3, 11, 4, 2, 1, 7, 8, 10, 5, 9, 6]
- Krenek, Ernst: Studies in Counterpoint (ii), [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6]
- Krenek, Ernst: Symeon, der Stylit, [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6]
- Krenek, Ernst: Symphonic Piece for string Orchestra, Op.86, [0, 3, 4, 10, 2, 9, 11, 8, 7, 5, 1, 6]
- Krenek, Ernst: Zwölf Variationen in Drei Sätzen, Op.79, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 8, 6]
- Lackner, Peter: 'Flügelaltar' für Klavier, [0, 9, 11, 10, 2, 7, 1, 8, 4, 5, 3, 6]
- Lang, Bernhard: Der Reigen, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]
- Lang, Bernhard: Monadologie XIII a; 'The Saucy Maid', [0, 1, 5, 2, 4, 9, 3, 10, 8, 11, 7, 6]
- Lang, Klaus: 'Von der Ligurischen Küste zum Trasimenischen See'; Trauermusik für Violine und Klavier, [0, 5, 9, 8, 10, 7, 1, 4, 2, 3, 11, 6]
- Luo, Zhong-Rong: Chang'e, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
- Messiaen, Olivier: Livre d'orgue, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Morris, Robert: Knot Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
- Morris, Robert: Not Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
- Morris, Robert: Roundelay, row 5, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6]
- Nono, Luigi: Canti per tredeci, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Nono, Luigi: Cori di Didone, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Nono, Luigi: Il canto sospeso, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Nono, Luigi: La terra e la compagna (sketch), Series 1, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Schnittke, Alfred: String Quartet, No.1, [0, 2, 1, 10, 3, 11, 5, 9, 4, 7, 8, 6]
- Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1233a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1245a Crossing Fifths (Crossing Intervals), [0, 5, 7, 10, 2, 3, 9, 8, 4, 1, 11, 6]
- Slonimsky, Nicholas: No. 1246a Crossing Fourths (Crossing Intervals), [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
- Slonimsky, Nicholas: No. 1301 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 8, 3, 5, 11, 9, 2, 10, 7, 6]
- Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
- Slonimsky, Nicholas: No. 1303 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 2, 3, 7, 10, 5, 11, 4, 1, 9, 8, 6]
- Slonimsky, Nicholas: No. 1304 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Triad), [0, 3, 7, 8, 10, 5, 11, 4, 2, 1, 9, 6]
- Slonimsky, Nicholas: No. 1305 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Sixth-Chord), [0, 3, 8, 10, 11, 7, 1, 5, 4, 2, 9, 6]
- Slonimsky, Nicholas: No. 1306 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Triad), [0, 4, 7, 8, 3, 5, 11, 9, 2, 1, 10, 6]
- Slonimsky, Nicholas: No. 1307 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Sixth-Chord), [0, 4, 9, 8, 11, 1, 7, 5, 2, 3, 10, 6]
- Slonimsky, Nicholas: No. 1308 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Six-Four Chord), [0, 5, 8, 10, 9, 1, 7, 3, 4, 2, 11, 6]
- Slonimsky, Nicholas: No. 1309 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Six-Four Chord), [0, 5, 9, 8, 10, 1, 7, 4, 2, 3, 11, 6]
- Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]
- Slonimsky, Nicholas: No. 1311 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 9, 10, 2, 5, 11, 8, 4, 3, 1, 6]
- Slonimsky, Nicholas: No. 1312 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 10, 2, 3, 5, 11, 9, 8, 4, 1, 6]
- Slonimsky, Nicholas: No. 1313 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 11, 2, 4, 3, 9, 10, 8, 5, 1, 6]
- Slonimsky, Nicholas: No. 1314 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 2, 7, 4, 5, 9, 3, 11, 10, 1, 8, 6]
- Slonimsky, Nicholas: No. 1315 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 4, 5, 2, 7, 9, 3, 1, 8, 11, 10, 6]
- Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions - With all Different Intervals. (Mother Chord), [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Slonimsky, Nicholas: No. 1318 Invertible Dodecaphonic Progressions - With all Different Intervals. (Grandmother Chord), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Wuorinen, Charles: Third Piano Sonata, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
- Zimmermann, Bernd Alois: 'Ich wandte mich um und sah alles Unrecht das geschah unter der Sonne', [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
Self Retrograde
We turn now to classes of row symmetry, beginning with self retrograde rows for which the prime form is transposition-equivalent to its retrograde. The section after this one deals with retrograde inversion symmetry, and rotational symmetry is included as part of the following sections on derived rows (starting with "6x Same Dyad").
- Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6]
- Babbitt, Milton: Composition for Four Instruments, row i, [0, 10, 9, 8, 7, 5, 11, 1, 2, 3, 4, 6]
- Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6]
- Babbitt, Milton: Composition for Four Instruments, row iii, [0, 4, 3, 8, 7, 11, 5, 1, 2, 9, 10, 6]
- Babbitt, Milton: Composition for Four Instruments, row iv, [0, 4, 1, 8, 5, 9, 3, 11, 2, 7, 10, 6]
- Babbitt, Milton: Du, row i, [0, 9, 2, 10, 11, 1, 7, 5, 4, 8, 3, 6]
- Babbitt, Milton: Du, row ii, [0, 5, 2, 10, 9, 7, 1, 3, 4, 8, 11, 6]
- Babbitt, Milton: Partitions, [0, 7, 9, 10, 2, 11, 5, 8, 4, 3, 1, 6]
- Babbitt, Milton: Semi-simple variations, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Babbitt, Milton: The Widow's Lament in Springtime, [0, 11, 9, 2, 10, 7, 1, 4, 8, 3, 5, 6]
- Barber, Samuel: Piano Sonata, Op.26, [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6]
- Berg, Alban: Lyric Suite, Primary Row / mvt I, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Berg, Alban: Schliesse mir die Augen Beide, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Carter, Elliott: Night Fantasies, [0, 10, 3, 11, 8, 7, 1, 2, 5, 9, 4, 6]
- Fine, Vivian: Chaconne for piano, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]
- Ginastera, Alberto: Quintet, Op.29, Row Class VII S, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6, [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6]
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.1, [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6]
- Jung, Joachim: , [0, 11, 3, 10, 2, 1, 7, 8, 4, 9, 5, 6]
- Klein, Fritz: Die Maschine: Eine extonale Selbstsatire, Op.1, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Klein, Fritz Heinrich: Variationen, Op.14, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Krenek, Ernst: Quaestio temporis, Op.170, [0, 3, 11, 4, 2, 1, 7, 8, 10, 5, 9, 6]
- Lackner, Peter: 'Flügelaltar' für Klavier, [0, 9, 11, 10, 2, 7, 1, 8, 4, 5, 3, 6]
- Lackner, Peter: 2. Kanonzyklus, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6]
- Lackner, Peter: Kanon für Blockflötenquartett. April 2005, [0, 10, 11, 3, 1, 2, 8, 7, 9, 5, 4, 6]
- Lackner, Peter: Kanon für Flöte solo und N. N., [0, 3, 7, 10, 2, 5, 11, 8, 4, 1, 9, 6]
- Lackner, Peter: Kanon für Flöte und Elektronik. Februar 1999, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6]
- Lackner, Peter: Kanon für Violine, Viola und Akkordeon. 11. Juni 2007, [0, 11, 1, 2, 3, 10, 4, 9, 8, 7, 5, 6]
- Lackner, Peter: Kanon für Violine solo, [0, 11, 2, 7, 10, 9, 3, 4, 1, 8, 5, 6]
- Lackner, Peter: Kanon für zwei Singstimmen und Ensemble zur Skulpturengruppe LEM von Axel Kirchmayr und einem Text von Hannes Waltl. September 2004, [0, 2, 9, 10, 5, 7, 1, 11, 4, 3, 8, 6]
- Lackner, Peter: Kanon für zwei Trompeten, Horn, Posaune und Tuba. 1. Mai 1993, [0, 1, 2, 10, 3, 5, 11, 9, 4, 8, 7, 6]
- Lackner, Peter: Kanon für zwei Violinen. Frühjahr 1992, [0, 2, 4, 7, 9, 11, 5, 3, 1, 10, 8, 6]
- Lackner, Peter: kgV (3,4) [zweistimmiger Kanon für Klavier], [0, 10, 2, 3, 5, 7, 1, 11, 9, 8, 4, 6]
- Lang, Bernhard: Der Reigen, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]
- Lang, Bernhard: Hemma (Music Theatre Hemma Klagenfurt 2015), [0, 5, 10, 2, 3, 1, 7, 9, 8, 4, 11, 6]
- Lang, Bernhard: Monadologie XIII a; 'The Saucy Maid', [0, 1, 5, 2, 4, 9, 3, 10, 8, 11, 7, 6]
- Lang, Klaus: 'Von der Ligurischen Küste zum Trasimenischen See'; Trauermusik für Violine und Klavier, [0, 5, 9, 8, 10, 7, 1, 4, 2, 3, 11, 6]
- Luo, Zhong-Rong: Chang'e, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
- Messiaen, Olivier: Livre d'orgue, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Morris, Robert: Knot Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
- Morris, Robert: Not Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
- Nono, Luigi: Canti per tredeci, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Nono, Luigi: Cori di Didone, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Nono, Luigi: Il canto sospeso, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Nono, Luigi: La terra e la compagna (sketch), Series 1, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
- Riegebauer, Sigrid: Toccata, [0, 3, 1, 2, 11, 10, 4, 5, 8, 7, 9, 6]
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6]
- Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, [0, 2, 3, 1, 4, 5, 11, 10, 7, 9, 8, 6]
- Schnittke, Alfred: String Quartet, No.1, [0, 2, 1, 10, 3, 11, 5, 9, 4, 7, 8, 6]
- Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6]
- Seiber, Mátyás: String Quartet, No.2, [0, 2, 3, 1, 4, 11, 5, 10, 7, 9, 8, 6]
- Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6]
- Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3, 4, 5, 6]
- Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6]
- Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1233a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals), [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6]
- Slonimsky, Nicholas: No. 1245a Crossing Fifths (Crossing Intervals), [0, 5, 7, 10, 2, 3, 9, 8, 4, 1, 11, 6]
- Slonimsky, Nicholas: No. 1246a Crossing Fourths (Crossing Intervals), [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
- Slonimsky, Nicholas: No. 1301 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 8, 3, 5, 11, 9, 2, 10, 7, 6]
- Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6]
- Slonimsky, Nicholas: No. 1303 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 2, 3, 7, 10, 5, 11, 4, 1, 9, 8, 6]
- Slonimsky, Nicholas: No. 1304 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Triad), [0, 3, 7, 8, 10, 5, 11, 4, 2, 1, 9, 6]
- Slonimsky, Nicholas: No. 1305 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Sixth-Chord), [0, 3, 8, 10, 11, 7, 1, 5, 4, 2, 9, 6]
- Slonimsky, Nicholas: No. 1306 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Triad), [0, 4, 7, 8, 3, 5, 11, 9, 2, 1, 10, 6]
- Slonimsky, Nicholas: No. 1307 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Sixth-Chord), [0, 4, 9, 8, 11, 1, 7, 5, 2, 3, 10, 6]
- Slonimsky, Nicholas: No. 1308 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Six-Four Chord), [0, 5, 8, 10, 9, 1, 7, 3, 4, 2, 11, 6]
- Slonimsky, Nicholas: No. 1309 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Six-Four Chord), [0, 5, 9, 8, 10, 1, 7, 4, 2, 3, 11, 6]
- Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6]
- Slonimsky, Nicholas: No. 1311 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 9, 10, 2, 5, 11, 8, 4, 3, 1, 6]
- Slonimsky, Nicholas: No. 1312 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 10, 2, 3, 5, 11, 9, 8, 4, 1, 6]
- Slonimsky, Nicholas: No. 1313 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 11, 2, 4, 3, 9, 10, 8, 5, 1, 6]
- Slonimsky, Nicholas: No. 1314 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 2, 7, 4, 5, 9, 3, 11, 10, 1, 8, 6]
- Slonimsky, Nicholas: No. 1315 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 4, 5, 2, 7, 9, 3, 1, 8, 11, 10, 6]
- Slonimsky, Nicholas: No. 1316 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 7, 4, 5, 9, 2, 8, 3, 11, 10, 1, 6]
- Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions - With all Different Intervals. (Mother Chord), [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6]
- Slonimsky, Nicholas: No. 1318 Invertible Dodecaphonic Progressions - With all Different Intervals. (Grandmother Chord), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6]
- Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6]
- Spinner, Leopold: Ich lieb' eine Blume for Four-part mixed Choir, [0, 11, 2, 4, 9, 7, 1, 3, 10, 8, 5, 6]
- Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6]
- Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6]
- Spinner, Leopold: Sonatina for Wind Instruments, Op.23, [0, 9, 1, 5, 4, 2, 8, 10, 11, 7, 3, 6]
- Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6]
- Webern, Anton: Symphony, Op.21, [0, 3, 2, 1, 5, 4, 10, 11, 7, 8, 9, 6]
- Wuorinen, Charles: Third Piano Sonata, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6]
- Zimmermann, Bernd Alois: 'Ich wandte mich um und sah alles Unrecht das geschah unter der Sonne', [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6]
Self Retrograde Inversion
These rows have a palindromic interval succession meaning that the prime is transposition-equivalent to its retrograde-inversion.
- Bach, Johann Sebastian: Chromatische Fantasie, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7]
- Bartók, Béla: String Quartet, No.4, [0, 5, 6, 11, 4, 9, 10, 3, 8, 1, 2, 7]
- Bennett, Richard Rodney: Five Studies for Piano, [0, 3, 5, 6, 11, 9, 4, 2, 7, 8, 10, 1]
- Berg, Alban: Lyric Suite, mvt I, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3]
- Berg, Alban: Lyric Suite, mvt VI, [0, 2, 4, 7, 9, 11, 6, 8, 10, 1, 3, 5]
- Berger, Arthur: Chamber Music for Thirteen Players, [0, 1, 11, 7, 10, 9, 6, 5, 8, 4, 2, 3]
- Boulez, Pierre: Le Marteau sans Maître, cycle of Bourreaux de solitude, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]
- Britten, Benjamin: The Turn of the Screw, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
- Carter, Elliott: String Quartet, No.2 (sketch) 1, [0, 4, 8, 3, 7, 11, 6, 10, 2, 9, 1, 5]
- Carter, Elliott: String Quartet, No.2 (sketch) 2, [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]
- Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11]
- Dallapiccola, Luigi: Cinque canti, [0, 11, 5, 8, 6, 2, 7, 3, 1, 4, 10, 9]
- Dallapiccola, Luigi: Dialoghi, [0, 1, 10, 2, 6, 4, 5, 3, 7, 11, 8, 9]
- Dallapiccola, Luigi: Requiescant (alternative view), [0, 2, 1, 7, 11, 8, 9, 6, 10, 4, 3, 5]
- Dallapiccola, Luigi: Ulisse [opera], [0, 2, 1, 3, 9, 8, 11, 10, 4, 6, 5, 7]
- Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5]
- Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7]
- Eisler, Hanns: Der Zweck der Musik, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3]
- Eisler, Hanns: Praeludium und Fuge über B-A-C-H for String Trio, Op.46, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9]
- Fano, Michel: Sonata for Two Pianos, [0, 6, 10, 7, 9, 8, 3, 2, 4, 1, 5, 11]
- Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11]
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1]
- Ginastera, Alberto: Quintet, Op.29, Row Class III 1, [0, 11, 1, 8, 2, 7, 10, 3, 9, 4, 6, 5]
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1, 4, 10, 3, 9]
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 1, [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2, [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1]
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 4, [0, 2, 1, 5, 3, 4, 7, 8, 6, 10, 9, 11]
- Hartmann, Karl Amadeus: Symphony, No.4, [0, 1, 3, 2, 11, 4, 5, 10, 7, 6, 8, 9]
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 3, [0, 1, 4, 6, 8, 10, 5, 7, 9, 11, 2, 3]
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 6, [0, 2, 4, 6, 7, 10, 5, 8, 9, 11, 1, 3]
- Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5]
- Lackner, Peter: 'Euphorbia obesa'. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5]
- Lackner, Peter: INITIUM TRIPLEX. 28. Juni 2016; für drei Tasteninstrumente, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]
- Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3]
- Lackner, Peter: Kanon T2 à 6, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
- Lackner, Peter: Kanon für Klavier. 15. Juni 1992, [0, 10, 3, 8, 6, 5, 2, 1, 11, 4, 9, 7]
- Lackner, Peter: Kanon für Schwegel, diatonisches Hackbrett und Violine, [0, 8, 4, 10, 6, 2, 5, 1, 9, 3, 11, 7]
- Lackner, Peter: Kanon für Streichquartett. 22.September 2003, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3]
- Lackner, Peter: Kanon für drei Klaviere. 28. 6. 2016, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]
- Lackner, Peter: Kanon für zwei Gitarren. September 2001, [0, 5, 3, 9, 11, 6, 7, 2, 4, 10, 8, 1]
- Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004, [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5]
- Lackner, Peter: TACET (drittes Lied aus dem Zyklus 'Wilde Erdbeeren'), [0, 2, 9, 5, 8, 11, 4, 7, 10, 6, 1, 3]
- Leibowitz, René: Trois pièces pour piano, Op.19, [0, 4, 3, 1, 2, 5, 6, 9, 10, 8, 7, 11]
- Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1]
- Liszt, Franz: Eine Faust Symphonie, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]
- Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7]
- Lutosławski, Witold: Musique Funébre (Funeral Music), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]
- Maderna, Bruno: Improvvisazione N. 1, [0, 11, 4, 8, 3, 2, 7, 6, 1, 5, 10, 9]
- Nono, Luigi: Ha venido, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11]
- Nono, Luigi: Intolleranza, Alto, [0, 6, 7, 1, 2, 8, 9, 3, 4, 10, 11, 5]
- Nono, Luigi: Intolleranza, Baritone, [0, 2, 7, 9, 4, 6, 11, 1, 8, 10, 3, 5]
- Nono, Luigi: Intolleranza, Tenor 1, [0, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7, 1]
- Nono, Luigi: Sarà dolce tacere, [0, 10, 5, 3, 8, 6, 1, 11, 4, 2, 9, 7]
- Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 1, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]
- Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7]
- Sande, Henrik: 4032 Töne für Klavier sechshändig, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
- Schnittke, Alfred: Concerto, No.2 for Violin and Chamber Orchestra, [0, 11, 1, 2, 10, 3, 4, 9, 5, 6, 8, 7]
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 6, [0, 11, 2, 1, 9, 10, 7, 8, 4, 3, 6, 5]
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 1, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7]
- Schnittke, Alfred: Concerto Grosso, No.3, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7]
- Schnittke, Alfred: Piano Sonata, No.1, mvt 2, mm. 72-76, [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 1, [0, 3, 6, 10, 2, 11, 8, 5, 9, 1, 4, 7]
- Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new row, [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5]
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1]
- Schnittke, Alfred: Viola Concerto, [0, 11, 5, 2, 1, 6, 3, 8, 7, 4, 10, 9]
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10, 9]
- Schoenberg, Arnold: Serenade, mvt 5, "Tanzscene", Op.24, [0, 1, 3, 6, 7, 9, 8, 10, 11, 2, 4, 5]
- Schwantner, Joseph: ...and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5]
- Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3]
- Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9]
- Schwantner, Joseph: Modus Caelestis (m. 39), [0, 6, 11, 10, 5, 9, 4, 8, 3, 2, 7, 1]
- Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1]
- Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11]
- Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7]
- Slonimsky, Nicholas: No. 1218a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 6, 11, 4, 9, 2, 7]
- Slonimsky, Nicholas: No. 1219a Fourths (Twelve-Tone Patterns), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
- Slonimsky, Nicholas: No. 1220a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
- Slonimsky, Nicholas: No. 1221a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
- Slonimsky, Nicholas: No. 1222aFifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
- Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11]
- Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1]
- Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3]
- Slonimsky, Nicholas: No. 1258b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 2, 10, 6, 4, 1, 9]
- Slonimsky, Nicholas: No. 1260a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 1, 5, 8, 11, 3]
- Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11]
- Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11]
- Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1]
- Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11]
- Slonimsky, Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]
- Slonimsky, Nicholas: No. 1270a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 11, 3, 5, 9, 1]
- Slonimsky, Nicholas: No. 1270b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 2, 10, 6, 3, 11, 7, 5, 1, 9]
- Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5]
- Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7]
- Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3]
- Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5]
- Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7]
- Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5]
- Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3]
- Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 7, 5, 4, 2, 11, 9, 8, 6, 3, 1]
- Slonimsky, Nicholas: No. 407 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]
- Slonimsky, Nicholas: No. 453 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 10, 3, 2, 1, 6, 5, 4, 9, 8, 7]
- Slonimsky, Nicholas: No. 459 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5]
- Slonimsky, Nicholas: No. 469 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]
- Slonimsky, Nicholas: No. 496 [Shostakovitch: Prelude No, 2] Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 2, 4, 3, 5, 7, 6, 8, 10, 9, 11, 1]
- Slonimsky, Nicholas: No. 508 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5]
- Slonimsky, Nicholas: No. 512 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1]
- Slonimsky, Nicholas: No. 570 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 3, 2, 5, 4, 7, 6, 9, 8, 11, 10, 1]
- Slonimsky, Nicholas: No. 572 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
- Slonimsky, Nicholas: No. 574 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
- Slonimsky, Nicholas: No. 576 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 9, 2, 11, 4, 1, 6, 3, 8, 5, 10, 7]
- Slonimsky, Nicholas: No. 578 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9]
- Slonimsky, Nicholas: No. 579 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9]
- Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11]
- Slonimsky, Nicholas: No. 648-654 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]
- Slonimsky, Nicholas: No. 655-657 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
- Slonimsky, Nicholas: No. 692 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 3, 5, 8, 10, 11, 1, 4, 6, 7, 9]
- Slonimsky, Nicholas: No. 698 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 5, 7, 8, 10, 1, 3, 4, 6, 9, 11]
- Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1]
- Slonimsky, Nicholas: No. 753 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11]
- Slonimsky, Nicholas: No. 793 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
- Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5]
- Slonimsky, Nicholas: No. 822 Ultrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
- Slonimsky, Nicholas: No. 823 Ultrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 1, 10, 11, 8, 9, 6, 7, 4, 5, 2, 3]
- Slonimsky, Nicholas: No. 824 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1]
- Slonimsky, Nicholas: No. 875 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7]
- Slonimsky, Nicholas: No. 903 Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 4, 8, 5, 9, 1, 10, 2, 6, 3, 7, 11]
- Slonimsky, Nicholas: No. 997 Infra-Interpolation (Diapente Progression; Equal Division of Seven Octaves into Twelve Parts), [0, 8, 4, 7, 3, 11, 2, 10, 6, 9, 5, 1]
- Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11]
- Spinner, Leopold: Ricercata, Op.21, [0, 11, 8, 10, 2, 1, 4, 3, 7, 9, 6, 5]
- Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11]
- Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3]
- Spinner, Leopold: Variations for Violin and Piano, Op.19, [0, 8, 9, 1, 2, 4, 3, 5, 6, 10, 11, 7]
- Urbanner, Erich: Adagio, [0, 3, 1, 11, 10, 9, 8, 7, 6, 4, 2, 5]
- Wang, Jian-Zhong: Five Pieces for Piano no. 1, "Pastorale" (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10, 1]
- Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5]
- Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9]
- Webern, Anton: Variations for Orchestra, Op.30, [0, 1, 4, 3, 2, 5, 6, 9, 8, 7, 10, 11]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 1, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9, 7]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 11, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7, 9]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8, 11]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9, 1]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 5, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 6, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 7, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 8, [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7]
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8, 5]
- Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5]
6x Same Dyad (interval)
These next four sections set out cases where the discrete sub-segments of a row all form the same pitch class set. The pitch class set in question is given after the row in prime form and rows which are also self-rotational are identified (with the self-rotational interval pattern). This first section presents cases of 6x the same dyad (pitches 1-2, 3-4, 5-6, 7-8, 9-10, and 11-12).
- Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 3)
- Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], pc set (0, 3)
- Bach, Johann Sebastian: Chromatische Fantasie, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], pc set (0, 3)
- Baker, David: “Status Symbol” from "The Black Experience", [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 3)
- Bartók, Béla: String Quartet, No.4, [0, 5, 6, 11, 4, 9, 10, 3, 8, 1, 2, 7], pc set (0, 5)
- Boulez, Pierre: Le Marteau sans Maître, cycle of Bourreaux de solitude, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], pc set (0, 1), self-rotational interval pattern 1-1-
- Britten, Benjamin: The Turn of the Screw, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], pc set (0, 5), self-rotational interval pattern 5-9-
- Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], pc set (0, 2)
- Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5], pc set (0, 6)
- Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 6)
- Eisler, Hanns: Praeludium und Fuge über B-A-C-H for String Trio, Op.46, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], pc set (0, 1), self-rotational interval pattern 11-3-
- Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], pc set (0, 1)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 8, [0, 1, 7, 6, 8, 9, 3, 2, 4, 5, 11, 10], pc set (0, 1)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1, 4, 10, 3, 9], pc set (0, 6)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 1, [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational interval pattern 11-11-
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2, [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], pc set (0, 3)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 5, [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], pc set (0, 5)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6, [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], pc set (0, 1)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.14, [0, 2, 5, 7, 8, 10, 11, 9, 6, 4, 3, 1], pc set (0, 2)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.19, [0, 1, 4, 5, 8, 9, 11, 10, 7, 6, 3, 2], pc set (0, 1)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.29, [0, 1, 6, 7, 8, 9, 11, 10, 5, 4, 3, 2], pc set (0, 1)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.31, [0, 1, 2, 3, 6, 7, 11, 10, 9, 8, 5, 4], pc set (0, 1)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.6, [0, 2, 4, 6, 8, 10, 9, 7, 5, 3, 1, 11], pc set (0, 2)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.1, [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1)
- Hendler, Maximilian: aus den fünf Liedern nach Texten von Elisabeth Pöschl : 'Sonnenaufgang' für Singstimme und Klavier, Op.44-1, [0, 11, 2, 1, 5, 6, 4, 3, 8, 7, 9, 10], pc set (0, 1)
- Kalodiki, Georgia: Six Sketches for piano, [0, 7, 6, 1, 2, 9, 8, 3, 4, 11, 5, 10], pc set (0, 5)
- Lackner, Peter: INITIUM TRIPLEX. 28. Juni 2016; für drei Tasteninstrumente, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], pc set (0, 1), self-rotational interval pattern 1-1-
- Lackner, Peter: Kanon T2 à 6, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], pc set (0, 5), self-rotational interval pattern 5-9-
- Lackner, Peter: Kanon T4 á 3, [0, 5, 7, 2, 4, 9, 11, 6, 8, 1, 3, 10], pc set (0, 5)
- Lackner, Peter: Kanon für Flöte solo und N. N., [0, 3, 7, 10, 2, 5, 11, 8, 4, 1, 9, 6], pc set (0, 3)
- Lackner, Peter: Kanon für drei Klaviere. 28. 6. 2016, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], pc set (0, 1), self-rotational interval pattern 1-1-
- Lackner, Peter: Moebiusband I für zwei Melodieinstrumente, [0, 6, 8, 2, 7, 1, 11, 5, 3, 9, 4, 10], pc set (0, 6)
- Lackner, Peter: Trauermusik für Fagott, Kontrafagott und Pauke, [0, 6, 2, 8, 10, 4, 11, 5, 9, 3, 1, 7], pc set (0, 6)
- Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1], pc set (0, 6)
- Lutosławski, Witold: Musique Funébre (Funeral Music), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], pc set (0, 6), self-rotational interval pattern 6-11-
- Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], pc set (0, 1)
- Nono, Luigi: Ha venido, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11], pc set (0, 6), self-rotational interval pattern 6-7-
- Nono, Luigi: Intolleranza, Alto, [0, 6, 7, 1, 2, 8, 9, 3, 4, 10, 11, 5], pc set (0, 6), self-rotational interval pattern 6-1-
- Nono, Luigi: Intolleranza, Baritone, [0, 2, 7, 9, 4, 6, 11, 1, 8, 10, 3, 5], pc set (0, 2)
- Nono, Luigi: Intolleranza, Soprano 1, [0, 3, 4, 7, 8, 5, 6, 9, 10, 1, 2, 11], pc set (0, 3)
- Nono, Luigi: Intolleranza, Tenor 1, [0, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7, 1], pc set (0, 6), self-rotational interval pattern 6-5-
- Nono, Luigi: Intolleranza, Tenor 2, [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1)
- Nono, Luigi: La terra e la compagna (sketch), Series 2, [0, 6, 1, 7, 11, 5, 2, 8, 10, 4, 3, 9], pc set (0, 6)
- Nono, Luigi: La terra e la compagna (sketch), Series 3, [0, 9, 6, 3, 1, 4, 7, 10, 11, 8, 5, 2], pc set (0, 3)
- Nono, Luigi: Sarà dolce tacere, [0, 10, 5, 3, 8, 6, 1, 11, 4, 2, 9, 7], pc set (0, 2)
- Nono, Luigi: Variazioni canoniche sulla serie dell'Op.41 di Arnold Schönberg, [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], pc set (0, 1)
- Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], pc set (0, 3)
- Pärt, Arvo: Diagrams, [0, 11, 2, 1, 3, 4, 9, 10, 7, 8, 6, 5], pc set (0, 1)
- Reynolds, Roger: Ambages, [0, 1, 4, 5, 7, 6, 8, 9, 10, 11, 2, 3], pc set (0, 1)
- Rochberg, George: String Quartet, No.2 with soprano solo, [0, 11, 6, 5, 1, 2, 8, 7, 3, 4, 9, 10], pc set (0, 1)
- Sande, Henrik: 4032 Töne für Klavier sechshändig, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5), self-rotational interval pattern 7-7-
- Schnittke, Alfred: Concerto Grosso, No.1, mvt 2, [0, 11, 2, 1, 8, 7, 10, 9, 6, 5, 4, 3], pc set (0, 1)
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 6, [0, 11, 2, 1, 9, 10, 7, 8, 4, 3, 6, 5], pc set (0, 1)
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6], pc set (0, 1)
- Schnittke, Alfred: Piano Sonata, No.1, mvt 2, mm. 72-76, [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], pc set (0, 6), self-rotational interval pattern 6-11-
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 2, [0, 3, 7, 10, 2, 11, 6, 9, 1, 4, 8, 5], pc set (0, 3)
- Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new row, [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], pc set (0, 3)
- Schnittke, Alfred: String Quartet, No.4, mvt 2, m.40, [0, 5, 10, 3, 2, 7, 8, 1, 6, 11, 4, 9], pc set (0, 5)
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], pc set (0, 1)
- Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], pc set (0, 1)
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10, 9], pc set (0, 1)
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2), [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], pc set (0, 1)
- Schwantner, Joseph: ...and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5], pc set (0, 1)
- Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3], pc set (0, 1)
- Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 3)
- Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9], pc set (0, 6)
- Seiber, Mátyás: Concert Piece for Violin and Piano, [0, 1, 7, 6, 11, 10, 4, 5, 9, 8, 2, 3], pc set (0, 1)
- Seiber, Mátyás: Ulysses, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 3)
- Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6], pc set (0, 5)
- Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11], pc set (0, 5)
- Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7], pc set (0, 5)
- Slonimsky, Nicholas: No. 1218a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 6, 11, 4, 9, 2, 7], pc set (0, 5), self-rotational interval pattern 5-5-
- Slonimsky, Nicholas: No. 1219a Fourths (Twelve-Tone Patterns), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], pc set (0, 5), self-rotational interval pattern 5-9-
- Slonimsky, Nicholas: No. 1220a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5), self-rotational interval pattern 7-7-
- Slonimsky, Nicholas: No. 1221a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5), self-rotational interval pattern 7-7-
- Slonimsky, Nicholas: No. 1222aFifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5), self-rotational interval pattern 7-7-
- Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11], pc set (0, 3)
- Slonimsky, Nicholas: No. 1227a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 4, 2, 8, 6, 1, 11, 9, 7, 5, 3], pc set (0, 2)
- Slonimsky, Nicholas: No. 1228a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 2, 4, 8, 6, 11, 1, 5, 3, 7, 9], pc set (0, 2)
- Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3, 4, 5, 6], pc set (0, 1)
- Slonimsky, Nicholas: No. 1230a Major Sevenths (Twelve-Tone Patterns), [0, 11, 3, 4, 8, 7, 1, 2, 6, 5, 9, 10], pc set (0, 1)
- Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], pc set (0, 1)
- Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], pc set (0, 3)
- Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], pc set (0, 3)
- Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], pc set (0, 3)
- Slonimsky, Nicholas: No. 1294a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 9, 4, 7, 5, 2, 6, 3, 10, 1, 11, 8], pc set (0, 3)
- Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], pc set (0, 5)
- Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], pc set (0, 6)
- Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5], pc set (0, 1)
- Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3], pc set (0, 2)
- Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 7, 5, 4, 2, 11, 9, 8, 6, 3, 1], pc set (0, 2)
- Slonimsky, Nicholas: No. 370 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], pc set (0, 5)
- Slonimsky, Nicholas: No. 388 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc set (0, 3)
- Slonimsky, Nicholas: No. 389 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc set (0, 3)
- Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc set (0, 3)
- Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc set (0, 3)
- Slonimsky, Nicholas: No. 570 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 3, 2, 5, 4, 7, 6, 9, 8, 11, 10, 1], pc set (0, 3), self-rotational interval pattern 3-11-
- Slonimsky, Nicholas: No. 572 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], pc set (0, 5), self-rotational interval pattern 5-9-
- Slonimsky, Nicholas: No. 574 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5), self-rotational interval pattern 7-7-
- Slonimsky, Nicholas: No. 576 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 9, 2, 11, 4, 1, 6, 3, 8, 5, 10, 7], pc set (0, 3), self-rotational interval pattern 9-5-
- Slonimsky, Nicholas: No. 578 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], pc set (0, 1), self-rotational interval pattern 11-3-
- Slonimsky, Nicholas: No. 579 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], pc set (0, 1), self-rotational interval pattern 11-3-
- Slonimsky, Nicholas: No. 637 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1)
- Slonimsky, Nicholas: No. 638 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 9, 10, 4, 3, 1, 2, 8, 7, 5, 6], pc set (0, 1)
- Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11], pc set (0, 1)
- Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1)
- Slonimsky, Nicholas: No. 645 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 11, 10, 8, 9, 7, 6, 4, 5, 3, 2], pc set (0, 1)
- Slonimsky, Nicholas: No. 648-654 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], pc set (0, 1), self-rotational interval pattern 1-1-
- Slonimsky, Nicholas: No. 655-657 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational interval pattern 11-11-
- Slonimsky, Nicholas: No. 692 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 3, 5, 8, 10, 11, 1, 4, 6, 7, 9], pc set (0, 2)
- Slonimsky, Nicholas: No. 698 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 5, 7, 8, 10, 1, 3, 4, 6, 9, 11], pc set (0, 2)
- Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1], pc set (0, 2)
- Slonimsky, Nicholas: No. 793 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational interval pattern 11-11-
- Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], pc set (0, 3)
- Slonimsky, Nicholas: No. 822 Ultrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational interval pattern 11-11-
- Slonimsky, Nicholas: No. 823 Ultrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 1, 10, 11, 8, 9, 6, 7, 4, 5, 2, 3], pc set (0, 1), self-rotational interval pattern 1-9-
- Slonimsky, Nicholas: No. 824 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], pc set (0, 1), self-rotational interval pattern 11-11-
- Slonimsky, Nicholas: No. 875 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], pc set (0, 6), self-rotational interval pattern 6-11-
- Slonimsky, Nicholas: No. 909 Infra-Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 9, 3, 6, 5, 2, 8, 11, 10, 7, 1, 4], pc set (0, 3)
- Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11], pc set (0, 1)
- Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6], pc set (0, 3)
- Spinner, Leopold: Sonata for Violin and Piano, Op.1, [0, 7, 6, 1, 3, 8, 5, 10, 2, 9, 4, 11], pc set (0, 5)
- Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 3)
- Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], pc set (0, 1)
- Talma, Louise: Three Bagatelles, Bagatelle 3, [0, 3, 4, 1, 5, 8, 10, 7, 2, 11, 6, 9], pc set (0, 3)
- Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], pc set (0, 1)
- Webern, Anton: String Trio, Op.20, [0, 11, 6, 5, 10, 9, 1, 2, 7, 8, 4, 3], pc set (0, 1)
- Wolpe, Stefan: Four Studies on Basic Rows, No.1 - Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4, 9, 3], pc set (0, 6)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 1, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], pc set (0, 1), self-rotational interval pattern 1-1-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9, 7], pc set (0, 2)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 11, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], pc set (0, 1), self-rotational interval pattern 11-3-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7, 9], pc set (0, 2)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8, 11], pc set (0, 3)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 5, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], pc set (0, 5), self-rotational interval pattern 5-9-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 6, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11], pc set (0, 6), self-rotational interval pattern 6-7-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 7, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], pc set (0, 5), self-rotational interval pattern 7-7-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8, 5], pc set (0, 3)
- Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5], pc set (0, 1)
- Zimmerman, Bernd Alois: Perspektiven, [0, 2, 10, 8, 4, 6, 3, 1, 5, 7, 11, 9], pc set (0, 2)
4x Same Trichord
Now for cases of 4x the same trichord (pitches 1-3, 4-6, 7-9 and 10-12).
- Apostel, Hans Erich: Fischerhaus-Serenade, Op.45, [0, 4, 8, 3, 11, 7, 1, 9, 5, 2, 10, 6], pc set (0, 4, 8)
- Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1, 4)
- Babbitt, Milton: Composition for Four Instruments, row i, [0, 10, 9, 8, 7, 5, 11, 1, 2, 3, 4, 6], pc set (0, 1, 3)
- Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], pc set (0, 1, 3)
- Babbitt, Milton: Composition for Four Instruments, row iii, [0, 4, 3, 8, 7, 11, 5, 1, 2, 9, 10, 6], pc set (0, 1, 4)
- Babbitt, Milton: Composition for Four Instruments, row iv, [0, 4, 1, 8, 5, 9, 3, 11, 2, 7, 10, 6], pc set (0, 1, 4)
- Baker, David: “Status Symbol” from "The Black Experience", [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4)
- Barber, Samuel: Piano Sonata, Op.26, [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], pc set (0, 4, 8)
- Bennett, Richard Rodney: Five Studies for Piano, [0, 3, 5, 6, 11, 9, 4, 2, 7, 8, 10, 1], pc set (0, 2, 5)
- Berg, Alban: Lulu, whole-tone row, [0, 2, 4, 6, 10, 8, 11, 7, 9, 1, 3, 5], pc set (0, 2, 4)
- Berg, Alban: Lyric Suite, mvt I, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4)
- Berg, Alban: Lyric Suite, mvt VI, [0, 2, 4, 7, 9, 11, 6, 8, 10, 1, 3, 5], pc set (0, 2, 4)
- Berio, Luciano: Cinque Variazioni, [0, 2, 4, 1, 3, 5, 8, 10, 6, 7, 9, 11], pc set (0, 2, 4)
- Berio, Luciano: Sequenza I, [0, 11, 10, 9, 8, 7, 4, 6, 5, 3, 1, 2], pc set (0, 1, 2)
- Carter, Elliott: String Quartet, No.2 (sketch) 1, [0, 4, 8, 3, 7, 11, 6, 10, 2, 9, 1, 5], pc set (0, 4, 8), self-rotational interval pattern 4-4-7-
- Carter, Elliott: String Quartet, No.2 (sketch) 2, [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8), self-rotational interval pattern 8-8-11-
- Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], pc set (0, 2, 4)
- Cordero, Roque: Sonata breve, [0, 1, 4, 11, 10, 7, 5, 8, 9, 6, 3, 2], pc set (0, 1, 4)
- Crosse, Gordon: Elegy for Small Orchestra, Op.1, [0, 11, 3, 1, 9, 10, 5, 6, 2, 4, 8, 7], pc set (0, 1, 4)
- Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5], pc set (0, 2, 6)
- Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 6)
- Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 6)
- Denisov, Edison: Five Etudes for Solo Bassoon, row E, [0, 1, 7, 6, 5, 11, 10, 4, 3, 8, 2, 9], pc set (0, 1, 6)
- Denisov, Edison: Five Etudes for Solo Bassoon, row G, [0, 11, 5, 10, 4, 3, 9, 8, 2, 1, 6, 7], pc set (0, 1, 6)
- Denisov, Edison: Five Etudes for Solo Bassoon, row J, [0, 6, 5, 11, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 6)
- Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 1, 6)
- Dessau, Paul: Les Voix, [0, 11, 6, 8, 9, 3, 4, 10, 5, 7, 2, 1], pc set (0, 1, 6)
- Eisler, Hanns: Der Zweck der Musik, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4)
- Eisler, Hanns: Gegen den Krieg, Op.55, [0, 3, 2, 5, 4, 7, 6, 8, 9, 10, 1, 11], pc set (0, 1, 3)
- Finney, Ross Lee: Fantasy in Two Movements for solo violin, [0, 1, 3, 5, 4, 2, 11, 10, 8, 6, 7, 9], pc set (0, 1, 3)
- Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], pc set (0, 1, 3)
- Ginastera, Alberto: Cantata para América Mágica, Op.27, [0, 7, 6, 5, 10, 11, 8, 1, 2, 9, 4, 3], pc set (0, 1, 6)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 1, [0, 1, 6, 7, 8, 2, 10, 11, 5, 4, 9, 3], pc set (0, 1, 6)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], pc set (0, 1, 3)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 5, [0, 1, 7, 6, 5, 11, 2, 8, 9, 10, 4, 3], pc set (0, 1, 6)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 4, [0, 2, 1, 5, 3, 4, 7, 8, 6, 10, 9, 11], pc set (0, 1, 2)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6, [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], pc set (0, 1, 5)
- Ginastera, Alberto: Violin Concerto, Op.30, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], pc set (0, 1, 3)
- Gotham, Mark: Move On!, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], pc set (0, 1, 4)
- Harrison, Lou: Untitled Piano Piece, [0, 10, 4, 3, 9, 7, 2, 8, 6, 1, 11, 5], pc set (0, 2, 6)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.362-365), [0, 7, 5, 3, 10, 8, 4, 2, 9, 6, 11, 1], pc set (0, 2, 7)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.15, [0, 1, 3, 6, 7, 9, 11, 10, 8, 5, 4, 2], pc set (0, 1, 3)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.18, [0, 3, 4, 6, 9, 10, 11, 8, 7, 5, 2, 1], pc set (0, 1, 4)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.19, [0, 1, 4, 5, 8, 9, 11, 10, 7, 6, 3, 2], pc set (0, 1, 4)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.30, [0, 1, 2, 6, 7, 8, 11, 10, 9, 5, 4, 3], pc set (0, 1, 2)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.6, [0, 2, 4, 6, 8, 10, 9, 7, 5, 3, 1, 11], pc set (0, 2, 4)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.1, [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1, 2)
- Huber, Klaus: Zwei Sätze, [0, 3, 1, 10, 11, 8, 6, 9, 7, 2, 4, 5], pc set (0, 1, 3)
- Ives, Charles: On the Antipodes, [0, 3, 11, 8, 4, 7, 10, 9, 6, 2, 5, 1], pc set (0, 1, 4)
- Jung, Joachim: , [0, 11, 3, 10, 2, 1, 7, 8, 4, 9, 5, 6], pc set (0, 1, 4)
- Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5], pc set (0, 1, 4)
- Lackner, Peter: 'An alle Außerirdischen'. Kanon für drei Singstimmen, Kontrabaß und Klavier, [0, 4, 9, 7, 11, 2, 5, 1, 8, 10, 6, 3], pc set (0, 3, 7)
- Lackner, Peter: 'Euphorbia obesa'. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5], pc set (0, 2, 4)
- Lackner, Peter: 2. Kanonzyklus, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], pc set (0, 2, 4)
- Lackner, Peter: Das Buch der Wandlungen I für Frauenstimmen und,oder Klavier, [0, 8, 3, 5, 1, 10, 7, 11, 4, 2, 6, 9], pc set (0, 3, 7)
- Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3], pc set (0, 2, 4)
- Lackner, Peter: Kanon T3 à 4, [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4], pc set (0, 2, 7), self-rotational interval pattern 2-5-8-
- Lackner, Peter: Kanon T6 á 2, [0, 10, 8, 3, 1, 5, 6, 4, 2, 9, 7, 11], pc set (0, 2, 4)
- Lackner, Peter: Kanon für Blockflötenquartett. April 2005, [0, 10, 11, 3, 1, 2, 8, 7, 9, 5, 4, 6], pc set (0, 1, 2)
- Lackner, Peter: Kanon für Flöte solo und N. N., [0, 3, 7, 10, 2, 5, 11, 8, 4, 1, 9, 6], pc set (0, 3, 7)
- Lackner, Peter: Kanon für Flöte und Elektronik. Februar 1999, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], pc set (0, 2, 4)
- Lackner, Peter: Kanon für Klavierquartett, [0, 8, 6, 11, 3, 9, 1, 5, 7, 2, 10, 4], pc set (0, 2, 6)
- Lackner, Peter: Kanon für Klavierquartett. 27. Juni 1991, [0, 2, 6, 9, 11, 3, 7, 5, 1, 10, 8, 4], pc set (0, 2, 6)
- Lackner, Peter: Kanon für Klaviertrio, [0, 2, 4, 9, 5, 7, 3, 1, 11, 6, 10, 8], pc set (0, 2, 4)
- Lackner, Peter: Kanon für Orgel, zweimanualiges Cembalo oder Klavier, [0, 7, 2, 11, 4, 9, 6, 8, 1, 5, 3, 10], pc set (0, 2, 7)
- Lackner, Peter: Kanon für Orgel. 21. November 1994, 4. Februar 1995, [0, 8, 5, 1, 4, 9, 2, 11, 7, 3, 10, 6], pc set (0, 3, 7)
- Lackner, Peter: Kanon für Schwegel, diatonisches Hackbrett und Violine, [0, 8, 4, 10, 6, 2, 5, 1, 9, 3, 11, 7], pc set (0, 4, 8)
- Lackner, Peter: Kanon für Schwegel und zwei Geigen, [0, 6, 4, 2, 10, 8, 9, 3, 5, 7, 11, 1], pc set (0, 2, 6)
- Lackner, Peter: Kanon für Streichquartett. 22.September 2003, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3], pc set (0, 2, 4)
- Lackner, Peter: Kanon für Violine solo, [0, 11, 2, 7, 10, 9, 3, 4, 1, 8, 5, 6], pc set (0, 1, 3)
- Lackner, Peter: Kanon für drei Violinen I, II August 1998, [0, 2, 10, 4, 8, 6, 1, 9, 11, 5, 3, 7], pc set (0, 2, 4)
- Lackner, Peter: Kanon für zwei Gitarren. September 2001, [0, 5, 3, 9, 11, 6, 7, 2, 4, 10, 8, 1], pc set (0, 2, 5)
- Lackner, Peter: Kanon für zwei Singstimmen und Ensemble zur Skulpturengruppe LEM von Axel Kirchmayr und einem Text von Hannes Waltl. September 2004, [0, 2, 9, 10, 5, 7, 1, 11, 4, 3, 8, 6], pc set (0, 2, 5)
- Lackner, Peter: Kanon für zwei Violinen, [0, 7, 4, 5, 9, 2, 3, 8, 11, 10, 6, 1], pc set (0, 3, 7)
- Lackner, Peter: Kanon für zwei Violinen. Frühjahr 1992, [0, 2, 4, 7, 9, 11, 5, 3, 1, 10, 8, 6], pc set (0, 2, 4)
- Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004, [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5], pc set (0, 2, 4)
- Lackner, Peter: Trauermusik für Fagott, Kontrafagott und Pauke, [0, 6, 2, 8, 10, 4, 11, 5, 9, 3, 1, 7], pc set (0, 2, 6)
- Lackner, Peter: kgV (3,4) [zweistimmiger Kanon für Klavier], [0, 10, 2, 3, 5, 7, 1, 11, 9, 8, 4, 6], pc set (0, 2, 4)
- Lang, Bernhard: 'Der Golem' nach Gustav Meyrinck, [0, 4, 7, 8, 11, 3, 5, 2, 9, 1, 10, 6], pc set (0, 3, 7)
- Leibowitz, René: Trois pièces pour piano, Op.19, [0, 4, 3, 1, 2, 5, 6, 9, 10, 8, 7, 11], pc set (0, 1, 4)
- Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1], pc set (0, 1, 6)
- Liszt, Franz: Eine Faust Symphonie, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], pc set (0, 4, 8), self-rotational interval pattern 4-4-3-
- Luo, Zhong-Rong: Three Piano Pieces, "Arabeque", row 2, [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 10, 5], pc set (0, 2, 7)
- Lutyens, Elisabeth: Motet (Excerota Tractati Logico-Philosophici), Op.27, [0, 11, 3, 7, 8, 4, 2, 6, 5, 1, 9, 10], pc set (0, 1, 4)
- Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], pc set (0, 1, 4)
- Moevs, Robert: Musica da Camera, [0, 1, 11, 3, 4, 2, 9, 10, 8, 7, 5, 6], pc set (0, 1, 2)
- Morris, Robert: Sung Song, [0, 3, 7, 6, 9, 2, 10, 5, 1, 8, 4, 11], pc set (0, 3, 7)
- Nono, Luigi: Incontri, [0, 2, 3, 8, 9, 6, 4, 5, 7, 11, 1, 10], pc set (0, 1, 3)
- Nono, Luigi: Variazioni canoniche sulla serie dell'Op.41 di Arnold Schönberg, [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], pc set (0, 1, 4)
- Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 1, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], pc set (0, 4, 8), self-rotational interval pattern 4-4-3-
- Pärt, Arvo: Diagrams, [0, 11, 2, 1, 3, 4, 9, 10, 7, 8, 6, 5], pc set (0, 1, 3)
- Rochberg, George: Sonata-Fantasia, [0, 11, 10, 4, 5, 6, 9, 8, 7, 1, 2, 3], pc set (0, 1, 2)
- Sande, Henrik: 'Volkslied' für zwei Singstimmen und Klavier. 24. 12. 2015, [0, 2, 4, 5, 7, 9, 10, 8, 6, 3, 1, 11], pc set (0, 2, 4)
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6], pc set (0, 1, 3)
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], pc set (0, 1, 3)
- Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], pc set (0, 1, 2)
- Schoenberg, Arnold: Die Jakobsleiter, [0, 1, 4, 3, 7, 6, 11, 2, 10, 9, 5, 8], pc set (0, 1, 4)
- Schoenberg, Arnold: Modern Psalms, The First Psalm, Op.50c, [0, 11, 8, 4, 7, 3, 1, 5, 2, 6, 9, 10], pc set (0, 1, 4)
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10, 9], pc set (0, 1, 4)
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2), [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], pc set (0, 1, 4)
- Schoenberg, Arnold: Serenade, mvt 5, "Tanzscene", Op.24, [0, 1, 3, 6, 7, 9, 8, 10, 11, 2, 4, 5], pc set (0, 1, 3)
- Schoenberg, Arnold: Suite, Op.29, [0, 4, 3, 7, 11, 8, 9, 6, 5, 1, 2, 10], pc set (0, 1, 4)
- Schoenberg, Arnold: Three Songs, No.3, "Madchenlied", Op.48, [0, 6, 8, 10, 2, 4, 9, 5, 3, 11, 7, 1], pc set (0, 2, 6)
- Schwantner, Joseph: ...and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5], pc set (0, 1, 4)
- Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3], pc set (0, 1, 4)
- Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1, 4)
- Schwantner, Joseph: In Aeternum (Principal Row), [0, 4, 11, 6, 10, 5, 1, 9, 2, 7, 3, 8], pc set (0, 1, 5)
- Seiber, Mátyás: Ulysses, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4)
- Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6], pc set (0, 2, 7)
- Slonimsky, Nicholas: No. 1223a Sixths (Twelve-Tone Patterns), [0, 8, 4, 1, 5, 9, 6, 2, 10, 7, 11, 3], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1225a Sixths (Twelve-Tone Patterns), [0, 8, 4, 7, 11, 3, 6, 2, 10, 1, 5, 9], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1226a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 8, 2, 4, 6, 1, 11, 9, 3, 5, 7], pc set (0, 2, 4)
- Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3, 4, 5, 6], pc set (0, 1, 2)
- Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], pc set (0, 1, 5)
- Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals), [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1251a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 2, 5, 8, 11, 4], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1251b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 11, 6, 2, 10, 7, 4, 1, 9], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1252a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 2, 6, 8, 11, 4], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1252b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 10, 6, 2, 11, 7, 4, 1, 9], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1253a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 11, 3, 6, 9, 2], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1253b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 1, 9, 6, 4, 11, 7, 5, 2, 10], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1254b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 1, 10, 6, 4, 11, 7, 5, 2, 9], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1255b [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 9, 6, 5, 1, 10, 7, 4, 11], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1256a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 11, 4, 6, 9, 1], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1256b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 4, 2, 11, 7, 5, 1, 8, 6, 3, 10], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11], pc set (0, 4, 8), self-rotational interval pattern 4-4-1-
- Slonimsky, Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8), self-rotational interval pattern 8-8-11-
- Slonimsky, Nicholas: No. 1270a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 11, 3, 5, 9, 1], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1270b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 2, 10, 6, 3, 11, 7, 5, 1, 9], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], pc set (0, 4, 8), self-rotational interval pattern 4-4-3-
- Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7], pc set (0, 4, 8), self-rotational interval pattern 8-8-9-
- Slonimsky, Nicholas: No. 1272a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 5, 2, 11, 8, 4], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1272b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 1, 2, 5, 9, 8, 4, 11], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1273a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 6, 2, 11, 8, 4], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1273b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 1, 2, 6, 9, 8, 4, 11], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1274a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 9, 6, 2, 11, 8, 3], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1274b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 1, 2, 6, 9, 8, 3, 11], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1275a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 9, 6, 1, 11, 8, 3], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1275b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 2, 1, 6, 9, 8, 3, 11], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1276a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 5, 2, 11, 8, 3], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1276b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 1, 2, 5, 9, 8, 3, 11], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1277a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 4, 11, 9, 6, 1], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1277b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 2, 4, 8, 11, 9, 6, 1], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 1290a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 2, 10, 7, 3, 11], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1290b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 5, 1, 10, 2, 6, 7, 3, 11], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1291a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 3, 11, 9, 5, 1], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1291b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 6, 2, 11, 3, 7, 9, 5, 1], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1292a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 2, 1, 9, 5], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1292b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 2, 6, 10, 9, 5, 1], pc set (0, 4, 8)
- Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4)
- Slonimsky, Nicholas: No. 1293b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 3, 1, 11, 10, 8, 6, 9, 7, 5, 4, 2], pc set (0, 1, 3)
- Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], pc set (0, 1, 5)
- Slonimsky, Nicholas: No. 1297b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 10, 8, 1, 3, 5, 6, 4, 2, 7, 9, 11], pc set (0, 2, 4)
- Slonimsky, Nicholas: No. 1316 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 7, 4, 5, 9, 2, 8, 3, 11, 10, 1, 6], pc set (0, 3, 7)
- Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], pc set (0, 1, 6)
- Slonimsky, Nicholas: No. 405 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 7, 5, 3, 10, 8, 6, 1, 11, 9, 4, 2], pc set (0, 2, 7), self-rotational interval pattern 7-10-10-
- Slonimsky, Nicholas: No. 407 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8), self-rotational interval pattern 8-8-11-
- Slonimsky, Nicholas: No. 410 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4], pc set (0, 1, 5), self-rotational interval pattern 8-11-8-
- Slonimsky, Nicholas: No. 415 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2], pc set (0, 2, 7), self-rotational interval pattern 10-7-10-
- Slonimsky, Nicholas: No. 417 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 4, 3, 2, 7, 6, 5, 10, 9, 8, 1], pc set (0, 1, 5), self-rotational interval pattern 11-5-11-
- Slonimsky, Nicholas: No. 420 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], pc set (0, 1, 5), self-rotational interval pattern 11-8-8-
- Slonimsky, Nicholas: No. 453 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 10, 3, 2, 1, 6, 5, 4, 9, 8, 7], pc set (0, 1, 2), self-rotational interval pattern 11-11-5-
- Slonimsky, Nicholas: No. 456 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], pc set (0, 1, 5), self-rotational interval pattern 11-8-8-
- Slonimsky, Nicholas: No. 459 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5], pc set (0, 2, 4), self-rotational interval pattern 10-10-7-
- Slonimsky, Nicholas: No. 466 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4], pc set (0, 1, 5), self-rotational interval pattern 8-11-8-
- Slonimsky, Nicholas: No. 469 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8), self-rotational interval pattern 8-8-11-
- Slonimsky, Nicholas: No. 482 Infra-Interpolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 1, 3, 2, 4, 6, 5, 7, 9, 8, 10], pc set (0, 1, 2), self-rotational interval pattern 11-2-2-
- Slonimsky, Nicholas: No. 485 Infra-Interpolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 2, 3, 1, 5, 6, 4, 8, 9, 7, 11], pc set (0, 2, 4), self-rotational interval pattern 10-4-1-
- Slonimsky, Nicholas: No. 493 Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 1, 5, 3, 4, 8, 6, 7, 11, 9, 10, 2], pc set (0, 1, 5), self-rotational interval pattern 1-4-10-
- Slonimsky, Nicholas: No. 496 [Shostakovitch: Prelude No, 2] Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 2, 4, 3, 5, 7, 6, 8, 10, 9, 11, 1], pc set (0, 2, 4), self-rotational interval pattern 2-2-11-
- Slonimsky, Nicholas: No. 499 Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4], pc set (0, 2, 7), self-rotational interval pattern 2-5-8-
- Slonimsky, Nicholas: No. 500 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 4, 3, 2, 7, 6, 5, 10, 9, 8, 1], pc set (0, 1, 5), self-rotational interval pattern 11-5-11-
- Slonimsky, Nicholas: No. 503 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], pc set (0, 1, 5), self-rotational interval pattern 11-8-8-
- Slonimsky, Nicholas: No. 505 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2], pc set (0, 2, 7), self-rotational interval pattern 10-7-10-
- Slonimsky, Nicholas: No. 508 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5], pc set (0, 2, 4), self-rotational interval pattern 10-10-7-
- Slonimsky, Nicholas: No. 512 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], pc set (0, 4, 8), self-rotational interval pattern 8-8-11-
- Slonimsky, Nicholas: No. 639 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 5, 4, 3, 6, 7, 8, 11, 10, 9], pc set (0, 1, 2)
- Slonimsky, Nicholas: No. 640 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 10, 7, 8, 9, 6, 5, 4, 1, 2, 3], pc set (0, 1, 2)
- Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1, 2)
- Slonimsky, Nicholas: No. 746 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 1, 5, 9, 10, 2, 6, 7, 11, 3, 4, 8], pc set (0, 1, 5), self-rotational interval pattern 1-4-4-
- Slonimsky, Nicholas: No. 749 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10], pc set (0, 2, 7), self-rotational interval pattern 2-5-2-
- Slonimsky, Nicholas: No. 753 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11], pc set (0, 4, 8), self-rotational interval pattern 4-4-1-
- Slonimsky, Nicholas: No. 754 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 5, 7, 9, 2, 4, 6, 11, 1, 3, 8, 10], pc set (0, 2, 7), self-rotational interval pattern 5-2-2-
- Slonimsky, Nicholas: No. 794 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 10, 11, 9, 7, 8, 6, 4, 5, 3, 1, 2], pc set (0, 1, 2), self-rotational interval pattern 10-1-10-
- Slonimsky, Nicholas: No. 795 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 8, 1, 9, 5, 10, 6, 2, 7, 3, 11, 4], pc set (0, 1, 5), self-rotational interval pattern 8-5-8-
- Slonimsky, Nicholas: No. 799 Infra-Infrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10], pc set (0, 2, 7), self-rotational interval pattern 2-5-2-
- Slonimsky, Nicholas: No. 903 Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 4, 8, 5, 9, 1, 10, 2, 6, 3, 7, 11], pc set (0, 4, 8), self-rotational interval pattern 4-4-9-
- Slonimsky, Nicholas: No. 915 Miscellaneous Patterns (Diatessaron Progression; Equal Division of Five Octaves into Twelve Parts), [0, 10, 2, 8, 4, 6, 5, 3, 7, 1, 9, 11], pc set (0, 2, 4)
- Slonimsky, Nicholas: No. 997 Infra-Interpolation (Diapente Progression; Equal Division of Seven Octaves into Twelve Parts), [0, 8, 4, 7, 3, 11, 2, 10, 6, 9, 5, 1], pc set (0, 4, 8), self-rotational interval pattern 8-8-3-
- Smith, Hale: Contours for Orchestra, [0, 5, 6, 4, 10, 11, 7, 2, 1, 3, 9, 8], pc set (0, 1, 6)
- Spinner, Leopold: Chamber Symphony, Op.28, [0, 11, 10, 6, 4, 5, 2, 1, 3, 7, 8, 9], pc set (0, 1, 2)
- Spinner, Leopold: Ricercata, Op.21, [0, 11, 8, 10, 2, 1, 4, 3, 7, 9, 6, 5], pc set (0, 1, 4)
- Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6], pc set (0, 1, 4)
- Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11], pc set (0, 1, 4)
- Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6], pc set (0, 1, 2)
- Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4)
- Spinner, Leopold: Trio for Clarinet, Cello and Piano, [0, 1, 7, 6, 5, 11, 10, 3, 4, 2, 9, 8], pc set (0, 1, 6)
- Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3], pc set (0, 1, 6)
- Stravinsky, Igor: Fanfare for a New Theater, [0, 11, 1, 3, 4, 2, 5, 7, 6, 8, 10, 9], pc set (0, 1, 2)
- Talma, Louise: Six Etudes, Etude 4, [0, 1, 5, 9, 4, 8, 7, 6, 11, 2, 10, 3], pc set (0, 1, 5)
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 5, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], pc set (0, 1, 4)
- Wang, Jian-Zhong: Five Pieces for Piano no. 1, "Pastorale" (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10, 1], pc set (0, 2, 5)
- Weber, Ben: Fantasia (Variations), Op.25, [0, 1, 5, 9, 10, 2, 6, 11, 7, 4, 3, 8], pc set (0, 1, 5)
- Webern, Anton: Op.32 (un-finished), initial sketch, [0, 1, 9, 11, 3, 2, 7, 6, 10, 8, 4, 5], pc set (0, 1, 4)
- Webern, Anton: Op.32 (un-finished), later sketch, [0, 1, 2, 11, 10, 9, 5, 4, 3, 6, 7, 8], pc set (0, 1, 2)
- Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5], pc set (0, 1, 4)
- Webern, Anton: Concerto for Nine Instruments (Konzert), Op.24, [0, 11, 3, 4, 8, 7, 9, 5, 6, 1, 2, 10], pc set (0, 1, 4)
- Wolpe, Stefan: Four Studies on Basic Rows, No.1 - Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4, 9, 3], pc set (0, 1, 6)
- Wolpe, Stefan: Four Studies on Basic Rows, No.2 - Study on Thirds, [0, 11, 9, 8, 10, 7, 6, 5, 3, 2, 4, 1], pc set (0, 1, 3)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7, 9], pc set (0, 2, 4)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8, 11], pc set (0, 1, 3)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9, 1], pc set (0, 4, 8)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 8, [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7], pc set (0, 4, 8), self-rotational interval pattern 8-8-9-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8, 5], pc set (0, 1, 4)
- Wuorinen, Charles: Second Sonata, Voice 3, [0, 2, 4, 3, 5, 1, 9, 7, 11, 10, 8, 6], pc set (0, 2, 4)
- Zhou, Jin-Min: Piano Quintet, Scherzo, [0, 10, 5, 4, 6, 11, 7, 9, 2, 3, 1, 8], pc set (0, 2, 7)
- Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5], pc set (0, 1, 4)
- Zimmerman, Bernd Alois: Perspektiven, [0, 2, 10, 8, 4, 6, 3, 1, 5, 7, 11, 9], pc set (0, 2, 4)
3x Same Tetrachord
Next up we have cases of 3x the same tetrachord (pitches 1-4, 5-8, and 8-12).
- Argento, Dominick: A Water Bird Talk, Bird Row, [0, 7, 2, 1, 10, 9, 3, 8, 5, 4, 11, 6], pc set (0, 1, 2, 7)
- Babbitt, Milton: Woodwind Quartet, [0, 3, 1, 2, 11, 10, 8, 9, 5, 7, 6, 4], pc set (0, 1, 2, 3)
- Bach, Johann Sebastian: Chromatische Fantasie, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-2-
- Bartók, Béla: String Quartet, No.4, [0, 5, 6, 11, 4, 9, 10, 3, 8, 1, 2, 7], pc set (0, 1, 6, 7), self-rotational interval pattern 5-1-5-5-
- Berg, Alban: Lulu, Schigolch, [0, 2, 3, 1, 4, 5, 6, 7, 8, 9, 11, 10], pc set (0, 1, 2, 3)
- Dallapiccola, Luigi: Ulisse [opera], [0, 2, 1, 3, 9, 8, 11, 10, 4, 6, 5, 7], pc set (0, 1, 2, 3)
- David, Johann Nepomuk: Sonata for violin, Op.58, No.1, [0, 2, 3, 9, 11, 10, 5, 8, 1, 6, 4, 7], pc set (0, 1, 3, 6)
- Denisov, Edison: Five Etudes for Solo Bassoon, row A, [0, 6, 1, 7, 8, 3, 2, 9, 10, 5, 11, 4], pc set (0, 1, 6, 7)
- Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 6, 7)
- Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 6, 7)
- Denisov, Edison: Five Etudes for Solo Bassoon, row D, [0, 6, 1, 7, 8, 3, 2, 9, 10, 11, 5, 4], pc set (0, 1, 6, 7)
- Denisov, Edison: Five Etudes for Solo Bassoon, row E, [0, 1, 7, 6, 5, 11, 10, 4, 3, 8, 2, 9], pc set (0, 1, 6, 7)
- Denisov, Edison: Five Etudes for Solo Bassoon, row F, [0, 6, 1, 7, 3, 2, 8, 9, 10, 5, 11, 4], pc set (0, 1, 6, 7)
- Denisov, Edison: Five Etudes for Solo Bassoon, row J, [0, 6, 5, 11, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 6, 7)
- Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 1, 6, 7)
- Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], pc set (0, 1, 2, 3)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 3, [0, 5, 6, 11, 2, 1, 8, 7, 10, 4, 9, 3], pc set (0, 1, 6, 7)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1], pc set (0, 1, 2, 3)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 8, [0, 1, 7, 6, 8, 9, 3, 2, 4, 5, 11, 10], pc set (0, 1, 6, 7), self-rotational interval pattern 1-6-11-2-
- Ginastera, Alberto: Sonata for Cello and Piano, Op.49, [0, 3, 2, 1, 10, 11, 8, 9, 5, 4, 7, 6], pc set (0, 1, 2, 3)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1, 4, 10, 3, 9], pc set (0, 1, 6, 7), self-rotational interval pattern 6-5-6-3-
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2, [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-5-
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 5, [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], pc set (0, 1, 6, 7), self-rotational interval pattern 7-6-5-10-
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen; mit einer Zwölftonreihe von Dr. Fritz Racek, [0, 2, 9, 11, 4, 3, 6, 1, 10, 8, 5, 7], pc set (0, 2, 3, 5)
- Hendler, Maximilian: aus den fünf Liedern nach Texten von Elisabeth Pöschl : 'Sonnenaufgang' für Singstimme und Klavier, Op.44-1, [0, 11, 2, 1, 5, 6, 4, 3, 8, 7, 9, 10], pc set (0, 1, 2, 3)
- Huber, Klaus: Zwei Sätze, [0, 3, 1, 10, 11, 8, 6, 9, 7, 2, 4, 5], pc set (0, 2, 3, 5)
- Jelinek, Hanns: Zwölftonwerk, Op.15, [0, 10, 5, 7, 3, 6, 1, 8, 11, 9, 2, 4], pc set (0, 2, 5, 7)
- Kalodiki, Georgia: Six Sketches for piano, [0, 7, 6, 1, 2, 9, 8, 3, 4, 11, 5, 10], pc set (0, 1, 6, 7)
- Lackner, Peter: Kanon T4 á 3, [0, 5, 7, 2, 4, 9, 11, 6, 8, 1, 3, 10], pc set (0, 2, 5, 7), self-rotational interval pattern 5-2-7-2-
- Lang, Bernhard: HIOB Musiktheater für Orchester, Chor und Solisten, [0, 9, 11, 10, 5, 8, 6, 7, 2, 3, 1, 4], pc set (0, 1, 2, 3)
- Li, Bao-Shu: Träumerei of Jiuzhai Gou, [0, 5, 7, 2, 4, 11, 9, 6, 3, 1, 8, 10], pc set (0, 2, 5, 7)
- Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1], pc set (0, 1, 6, 7)
- Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7], pc set (0, 2, 5, 7)
- Morris, Robert: Beautiful Beast, [0, 1, 3, 6, 5, 10, 7, 4, 9, 8, 11, 2], pc set (0, 1, 3, 6)
- Morris, Robert: On the Go, [0, 9, 2, 3, 5, 8, 10, 11, 1, 4, 7, 6], pc set (0, 1, 3, 6)
- Nono, Luigi: Intolleranza, Baritone, [0, 2, 7, 9, 4, 6, 11, 1, 8, 10, 3, 5], pc set (0, 2, 5, 7), self-rotational interval pattern 2-5-2-7-
- Nono, Luigi: Intolleranza, Tenor 2, [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1, 2, 3), self-rotational interval pattern 1-2-11-2-
- Nono, Luigi: La terra e la compagna (sketch), Series 3, [0, 9, 6, 3, 1, 4, 7, 10, 11, 8, 5, 2], pc set (0, 3, 6, 9)
- Nono, Luigi: Sarà dolce tacere, [0, 10, 5, 3, 8, 6, 1, 11, 4, 2, 9, 7], pc set (0, 2, 5, 7), self-rotational interval pattern 10-7-10-5-
- Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-2-
- Pärt, Arvo: Symphony, No.2, [0, 3, 1, 2, 4, 7, 5, 6, 8, 11, 9, 10], pc set (0, 1, 2, 3), self-rotational interval pattern 3-10-1-2-
- Rochberg, George: String Quartet, No.2 with soprano solo, [0, 11, 6, 5, 1, 2, 8, 7, 3, 4, 9, 10], pc set (0, 1, 6, 7)
- Schnittke, Alfred: Concerto Grosso, No.1, mvt 2, [0, 11, 2, 1, 8, 7, 10, 9, 6, 5, 4, 3], pc set (0, 1, 2, 3)
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 6, [0, 11, 2, 1, 9, 10, 7, 8, 4, 3, 6, 5], pc set (0, 1, 2, 3)
- Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new row, [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-1-
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], pc set (0, 1, 2, 3)
- Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], pc set (0, 1, 2, 3)
- Schnittke, Alfred: Violin Sonata 2, [0, 10, 11, 9, 6, 8, 7, 5, 4, 1, 2, 3], pc set (0, 1, 2, 3)
- Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9], pc set (0, 1, 6, 7)
- Seiber, Mátyás: Concert Piece for Violin and Piano, [0, 1, 7, 6, 11, 10, 4, 5, 9, 8, 2, 3], pc set (0, 1, 6, 7)
- Seiber, Mátyás: Sonata for Violin and Piano, [0, 1, 11, 10, 7, 6, 8, 9, 4, 3, 5, 2], pc set (0, 1, 2, 3)
- Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11], pc set (0, 2, 5, 7)
- Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7], pc set (0, 2, 5, 7)
- Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11], pc set (0, 3, 6, 9)
- Slonimsky, Nicholas: No. 1241a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals), [0, 9, 6, 3, 11, 5, 2, 8, 7, 10, 1, 4], pc set (0, 3, 6, 9)
- Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-4-
- Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-4-
- Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-5-
- Slonimsky, Nicholas: No. 216 Ultrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 5, 10, 7, 4, 9, 2, 11, 8, 1, 6, 3], pc set (0, 2, 5, 7), self-rotational interval pattern 5-5-9-9-
- Slonimsky, Nicholas: No. 221 Ultrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 6, 11, 9, 4, 10, 3, 1, 8, 2, 7, 5], pc set (0, 1, 3, 6), self-rotational interval pattern 6-5-10-7-
- Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], pc set (0, 1, 6, 7), self-rotational interval pattern 6-11-6-5-
- Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5], pc set (0, 1, 2, 3), self-rotational interval pattern 11-11-11-7-
- Slonimsky, Nicholas: No. 262 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 11, 10, 5, 4, 3, 2, 9, 8, 7, 6, 1], pc set (0, 1, 2, 7), self-rotational interval pattern 11-11-7-11-
- Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3], pc set (0, 2, 3, 5), self-rotational interval pattern 10-11-10-9-
- Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 7, 5, 4, 2, 11, 9, 8, 6, 3, 1], pc set (0, 2, 5, 7), self-rotational interval pattern 10-9-10-11-
- Slonimsky, Nicholas: No. 340 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 11, 2, 9, 4, 3, 6, 1, 8, 7, 10, 5], pc set (0, 2, 3, 5), self-rotational interval pattern 11-3-7-7-
- Slonimsky, Nicholas: No. 348 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 1, 7, 4, 2, 5, 11, 8, 6, 9, 3], pc set (0, 1, 3, 6), self-rotational interval pattern 10-3-6-9-
- Slonimsky, Nicholas: No. 359 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 3, 9, 4, 2, 7, 1, 8, 6, 11, 5], pc set (0, 1, 3, 6), self-rotational interval pattern 10-5-6-7-
- Slonimsky, Nicholas: No. 370 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], pc set (0, 1, 6, 7), self-rotational interval pattern 7-6-5-10-
- Slonimsky, Nicholas: No. 371 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 7, 2, 5, 4, 11, 6, 9, 8, 3, 10, 1], pc set (0, 2, 5, 7), self-rotational interval pattern 7-7-3-11-
- Slonimsky, Nicholas: No. 388 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc set (0, 3, 6, 9), self-rotational interval pattern 3-6-9-10-
- Slonimsky, Nicholas: No. 389 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc set (0, 3, 6, 9), self-rotational interval pattern 9-6-3-10-
- Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], pc set (0, 3, 6, 9), self-rotational interval pattern 3-6-9-10-
- Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], pc set (0, 3, 6, 9), self-rotational interval pattern 9-6-3-10-
- Slonimsky, Nicholas: No. 637 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], pc set (0, 1, 2, 3), self-rotational interval pattern 1-2-11-2-
- Slonimsky, Nicholas: No. 638 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 9, 10, 4, 3, 1, 2, 8, 7, 5, 6], pc set (0, 1, 2, 3), self-rotational interval pattern 11-10-1-6-
- Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11], pc set (0, 1, 2, 3)
- Slonimsky, Nicholas: No. 645 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 11, 10, 8, 9, 7, 6, 4, 5, 3, 2], pc set (0, 1, 2, 3), self-rotational interval pattern 1-10-11-10-
- Slonimsky, Nicholas: No. 646 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 11, 6, 8, 9, 7, 2, 4, 5, 3, 10], pc set (0, 1, 2, 7), self-rotational interval pattern 1-10-7-2-
- Slonimsky, Nicholas: No. 647 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 2, 11, 5, 8, 10, 7, 1, 4, 6, 3, 9], pc set (0, 1, 3, 6), self-rotational interval pattern 2-9-6-3-
- Slonimsky, Nicholas: No. 685 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 1, 3, 6, 8, 9, 11, 2, 4, 5, 7, 10], pc set (0, 1, 3, 6), self-rotational interval pattern 1-2-3-2-
- Slonimsky, Nicholas: No. 692 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 3, 5, 8, 10, 11, 1, 4, 6, 7, 9], pc set (0, 2, 3, 5), self-rotational interval pattern 2-1-2-3-
- Slonimsky, Nicholas: No. 698 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 5, 7, 8, 10, 1, 3, 4, 6, 9, 11], pc set (0, 2, 5, 7), self-rotational interval pattern 2-3-2-1-
- Slonimsky, Nicholas: No. 734 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 5, 11, 10, 8, 1, 7, 6, 4, 9, 3, 2], pc set (0, 1, 2, 7), self-rotational interval pattern 5-6-11-10-
- Slonimsky, Nicholas: No. 735 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 6, 9, 11, 8, 2, 5, 7, 4, 10, 1, 3], pc set (0, 1, 3, 6), self-rotational interval pattern 6-3-2-9-
- Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1], pc set (0, 2, 5, 7), self-rotational interval pattern 2-5-2-11-
- Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], pc set (0, 3, 6, 9), self-rotational interval pattern 3-3-3-1-
- Slonimsky, Nicholas: No. 909 Infra-Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 9, 3, 6, 5, 2, 8, 11, 10, 7, 1, 4], pc set (0, 3, 6, 9), self-rotational interval pattern 9-6-3-11-
- Spinner, Leopold: Sonatina for Piano, Op.22, [0, 3, 2, 1, 9, 10, 11, 8, 5, 4, 7, 6], pc set (0, 1, 2, 3)
- Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], pc set (0, 1, 6, 7)
- Stravinsky, Igor: Agon, "Double Pas-de-Deux", [0, 11, 1, 2, 9, 8, 10, 7, 5, 6, 4, 3], pc set (0, 1, 2, 3)
- Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], pc set (0, 1, 2, 3)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9, 7], pc set (0, 1, 2, 3), self-rotational interval pattern 10-3-10-5-
- Yun, Isang: Garak, [0, 3, 6, 1, 4, 5, 7, 10, 9, 11, 8, 2], pc set (0, 1, 3, 6)
2x Same Hexachord
Finally, we have the relatively common condition of 2x the same hexachord (pitches 1-6 and 7-12).
- Apostel, Hans Erich: Fischerhaus-Serenade, Op.45, [0, 4, 8, 3, 11, 7, 1, 9, 5, 2, 10, 6], pc set (0, 1, 4, 5, 8, 9)
- Argento, Dominick: A Water Bird Talk, Lecturer Row, [0, 9, 5, 10, 2, 6, 3, 11, 8, 4, 1, 7], pc set (0, 1, 3, 5, 8, 9)
- Argento, Dominick: From the Diary of Virginia Woolf, [0, 7, 6, 2, 11, 5, 3, 1, 8, 9, 4, 10], pc set (0, 1, 2, 5, 7, 8)
- Atterberg, Kurt: Symphony 9 [Bbm], Op.54, 'Sinfonia visionaria', [0, 1, 5, 6, 7, 4, 8, 11, 10, 9, 2, 3], pc set (0, 1, 2, 3, 6, 7)
- Babbitt, Milton: All Set, [0, 4, 5, 11, 6, 10, 7, 3, 1, 2, 9, 8], pc set (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: Arie da Capo, [0, 7, 8, 6, 2, 1, 10, 5, 11, 9, 4, 3], pc set (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Composition for Four Instruments, row i, [0, 10, 9, 8, 7, 5, 11, 1, 2, 3, 4, 6], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Composition for Four Instruments, row iii, [0, 4, 3, 8, 7, 11, 5, 1, 2, 9, 10, 6], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Four Instruments, row iv, [0, 4, 1, 8, 5, 9, 3, 11, 2, 7, 10, 6], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Synthesizer, [0, 9, 1, 8, 4, 5, 7, 2, 3, 6, 10, 11], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Tenor and Six Instruments, [0, 11, 7, 5, 6, 1, 4, 3, 10, 8, 2, 9], pc set (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: Composition for Twelve Instruments, [0, 1, 4, 9, 5, 8, 3, 10, 2, 11, 6, 7], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Viola and Piano, [0, 3, 4, 8, 11, 7, 9, 2, 1, 5, 10, 6], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Du, row i, [0, 9, 2, 10, 11, 1, 7, 5, 4, 8, 3, 6], pc set (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Du, row ii, [0, 5, 2, 10, 9, 7, 1, 3, 4, 8, 11, 6], pc set (0, 2, 4, 5, 7, 9)
- Babbitt, Milton: Groupwise, [0, 5, 4, 6, 10, 11, 2, 9, 3, 1, 8, 7], pc set (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: My Complements to Roger, [0, 3, 7, 8, 11, 4, 2, 6, 1, 9, 10, 5], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: My Ends Are My Beginnings, [0, 11, 4, 8, 7, 3, 5, 6, 9, 2, 10, 1], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Paraphrases, [0, 11, 3, 10, 8, 1, 7, 5, 4, 6, 2, 9], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Partitions, [0, 7, 9, 10, 2, 11, 5, 8, 4, 3, 1, 6], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Relata I, [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5], pc set (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Relata II, [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5], pc set (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Semi-simple variations, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: String Quartet, No.2, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: String Quartet, No.3, [0, 11, 6, 7, 5, 1, 10, 2, 9, 3, 4, 8], pc set (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: String Quartet, No.4, [0, 2, 9, 7, 11, 10, 1, 8, 4, 3, 5, 6], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Tableaux, [0, 11, 4, 6, 10, 5, 2, 1, 7, 9, 8, 3], pc set (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: The Crowded Air, [0, 8, 5, 7, 10, 6, 11, 1, 9, 3, 2, 4], pc set (0, 1, 2, 3, 5, 7)
- Babbitt, Milton: The Widow's Lament in Springtime, [0, 11, 9, 2, 10, 7, 1, 4, 8, 3, 5, 6], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Three Compositions for Piano, No.1, [0, 5, 7, 4, 2, 3, 9, 1, 8, 11, 10, 6], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Two Sonnets of Gerard Manley Hopkins, [0, 2, 3, 4, 7, 5, 11, 6, 10, 9, 8, 1], pc set (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Vision and Prayer, [0, 11, 8, 3, 7, 4, 10, 9, 2, 6, 1, 5], pc set (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Woodwind Quartet, [0, 3, 1, 2, 11, 10, 8, 9, 5, 7, 6, 4], pc set (0, 1, 2, 3, 4, 5)
- Baker, David: “Status Symbol” from "The Black Experience", [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4, 5, 8, 9)
- Barber, Samuel: Piano Sonata, Op.26, [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], pc set (0, 1, 4, 5, 8, 9)
- Bartók, Béla: Violin Concerto, No.2, mvt 1, [0, 2, 8, 1, 9, 4, 10, 6, 3, 7, 11, 5], pc set (0, 1, 4, 5, 6, 8)
- Bartók, Béla: Violin Concerto, No.2, mvt 3, [0, 8, 2, 9, 1, 4, 10, 7, 6, 3, 11, 5], pc set (0, 1, 4, 5, 6, 8)
- Beecroft, Norma: Improvvisazioni Concertanti, No.1, [0, 1, 11, 9, 3, 2, 7, 6, 10, 8, 4, 5], pc set (0, 1, 2, 3, 4, 6)
- Bennett, Richard Rodney: Five Studies for Piano, [0, 3, 5, 6, 11, 9, 4, 2, 7, 8, 10, 1], pc set (0, 1, 3, 6, 7, 9)
- Berg, Alban: Altenberg Lieder, [0, 1, 11, 10, 2, 9, 3, 8, 7, 6, 5, 4], pc set (0, 1, 2, 3, 4, 5)
- Berg, Alban: Lulu, Lulu (title character) row, [0, 2, 3, 5, 7, 9, 1, 10, 11, 4, 6, 8], pc set (0, 2, 3, 5, 7, 9)
- Berg, Alban: Lulu, Primary / Main / Basic Row, [0, 4, 5, 2, 7, 9, 6, 8, 11, 10, 3, 1], pc set (0, 2, 4, 5, 7, 9)
- Berg, Alban: Lulu, Schigolch, [0, 2, 3, 1, 4, 5, 6, 7, 8, 9, 11, 10], pc set (0, 1, 2, 3, 4, 5)
- Berg, Alban: Lulu, Schoolboy row, [0, 2, 6, 10, 4, 7, 8, 3, 5, 9, 11, 1], pc set (0, 1, 3, 5, 7, 9)
- Berg, Alban: Lulu, permutation of main row, [0, 4, 2, 7, 9, 6, 8, 11, 3, 1, 5, 10], pc set (0, 2, 3, 5, 7, 9)
- Berg, Alban: Lulu, whole-tone row, [0, 2, 4, 6, 10, 8, 11, 7, 9, 1, 3, 5], pc set (0, 2, 4, 6, 8, 10)
- Berg, Alban: Lyric Suite, Primary Row / mvt I, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
- Berg, Alban: Lyric Suite, mvt I, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 2-2-1-2-2-9-
- Berg, Alban: Lyric Suite, mvt III, [0, 11, 7, 1, 2, 9, 3, 8, 10, 4, 5, 6], pc set (0, 1, 2, 3, 5, 7)
- Berg, Alban: Lyric Suite, mvt VI, [0, 2, 4, 7, 9, 11, 6, 8, 10, 1, 3, 5], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 2-2-3-2-2-7-
- Berg, Alban: Schliesse mir die Augen Beide, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
- Berger, Arthur: Chamber Music for Thirteen Players, [0, 1, 11, 7, 10, 9, 6, 5, 8, 4, 2, 3], pc set (0, 1, 2, 3, 4, 6)
- Berio, Luciano: Chamber Music, [0, 9, 3, 5, 7, 10, 2, 11, 4, 6, 8, 1], pc set (0, 2, 3, 5, 7, 9)
- Berio, Luciano: Cinque Variazioni, [0, 2, 4, 1, 3, 5, 8, 10, 6, 7, 9, 11], pc set (0, 1, 2, 3, 4, 5)
- Berio, Luciano: Sequenza I, [0, 11, 10, 9, 8, 7, 4, 6, 5, 3, 1, 2], pc set (0, 1, 2, 3, 4, 5)
- Bischof, Rainer: 'Und so sink ich leise in mich selbst hinein'. Österreichischer Liederzyklus für Mezzosopran und Violine, Op.17, [0, 6, 5, 11, 4, 9, 3, 2, 8, 7, 1, 10], pc set (0, 1, 2, 5, 7, 8)
- Boulez, Pierre: 2nd Piano Sonata, mvt II, Section 1, [0, 2, 1, 11, 3, 9, 8, 10, 7, 6, 5, 4], pc set (0, 1, 2, 3, 4, 6)
- Boulez, Pierre: Le Soleil des eaux, series I, [0, 6, 10, 2, 5, 1, 7, 11, 3, 4, 8, 9], pc set (0, 1, 4, 5, 6, 8)
- Boulez, Pierre: Le Soleil des eaux, series II, [0, 6, 10, 2, 5, 1, 4, 7, 11, 8, 3, 9], pc set (0, 1, 4, 5, 6, 8)
- Boulez, Pierre: Le Soleil des eaux, series III, [0, 11, 7, 2, 6, 5, 4, 8, 10, 1, 3, 9], pc set (0, 1, 2, 5, 7, 8)
- Boulez, Pierre: Notations, [0, 2, 7, 6, 1, 8, 4, 9, 5, 11, 10, 3], pc set (0, 1, 2, 6, 7, 8)
- Boulez, Pierre: Pli selon pli, [0, 1, 8, 6, 7, 9, 4, 5, 11, 3, 2, 10], pc set (0, 1, 2, 3, 6, 7)
- Boulez, Pierre: Structures Ia, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], pc set (0, 1, 2, 3, 6, 7)
- Cage, John: Sonata for Clarinet, [0, 1, 10, 11, 9, 7, 6, 5, 4, 8, 3, 2], pc set (0, 1, 2, 3, 4, 6)
- Cage, John: Sonata for Clarinet, mvt 2, [0, 11, 9, 10, 8, 6, 5, 4, 3, 7, 2, 1], pc set (0, 1, 2, 3, 4, 6)
- Cage, John: Two pieces for Piano, [0, 11, 8, 3, 4, 2, 9, 7, 1, 5, 10, 6], pc set (0, 1, 2, 4, 5, 8)
- Carlos, Juan: Canciones y Baladas, Balada II, [0, 4, 10, 6, 3, 8, 7, 2, 5, 9, 1, 11], pc set (0, 1, 3, 5, 7, 9)
- Carter, Elliott: Night Fantasies, [0, 10, 3, 11, 8, 7, 1, 2, 5, 9, 4, 6], pc set (0, 1, 3, 4, 5, 8)
- Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 2-2-2-2-2-3-
- Coltrane, John: Miles Mode, [0, 3, 5, 2, 7, 9, 10, 8, 1, 11, 6, 4], pc set (0, 2, 3, 5, 7, 9)
- Copland, Aaron: Inscape, ("Y form" or "Row 1"), [0, 4, 3, 11, 2, 7, 6, 8, 10, 9, 5, 1], pc set (0, 1, 3, 4, 5, 8)
- Cordero, Roque: Concerto for Violin, mvt 2A, [0, 11, 6, 4, 7, 8, 5, 9, 3, 10, 1, 2], pc set (0, 1, 4, 5, 6, 8)
- Cordero, Roque: Soliloquios, [0, 1, 5, 11, 3, 2, 9, 8, 4, 10, 6, 7], pc set (0, 1, 2, 3, 4, 6)
- Cordero, Roque: Violin Concerto mvt 1-3, [0, 11, 6, 4, 8, 7, 5, 1, 3, 2, 10, 9], pc set (0, 1, 4, 5, 6, 8)
- Crosse, Gordon: Elegy for Small Orchestra, Op.1, [0, 11, 3, 1, 9, 10, 5, 6, 2, 4, 8, 7], pc set (0, 1, 2, 3, 4, 6)
- Dallapiccola, Luigi: 'Intermezzo' from the 'Ciaccona' (of 'Ciaccona, intermezzo e adagio'), [0, 5, 6, 3, 8, 9, 7, 11, 10, 2, 1, 4], pc set (0, 1, 3, 4, 6, 9)
- Dallapiccola, Luigi: Canti di Liberationi, No.2, [0, 5, 8, 3, 1, 9, 10, 4, 2, 11, 7, 6], pc set (0, 1, 3, 5, 8, 9)
- Dallapiccola, Luigi: Canti di Liberazione, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], pc set (0, 1, 3, 5, 8, 9)
- Dallapiccola, Luigi: Cinque canti, [0, 11, 5, 8, 6, 2, 7, 3, 1, 4, 10, 9], pc set (0, 1, 3, 6, 7, 9)
- Dallapiccola, Luigi: Commiato, [0, 6, 5, 3, 9, 11, 10, 8, 7, 1, 2, 4], pc set (0, 1, 3, 6, 7, 9)
- Dallapiccola, Luigi: Dialoghi, [0, 1, 10, 2, 6, 4, 5, 3, 7, 11, 8, 9], pc set (0, 2, 3, 4, 6, 8)
- Dallapiccola, Luigi: Il Prigioniero, "Hope", [0, 1, 2, 3, 11, 5, 4, 10, 6, 7, 9, 8], pc set (0, 1, 2, 3, 4, 6)
- Dallapiccola, Luigi: Il prigioniero, "Prayer", [0, 3, 6, 11, 9, 2, 1, 7, 8, 4, 5, 10], pc set (0, 1, 3, 4, 6, 9)
- Dallapiccola, Luigi: Liriche greche c: Sex Carmina Alcaei, [0, 3, 5, 6, 2, 9, 8, 7, 4, 1, 10, 11], pc set (0, 1, 3, 4, 6, 9)
- Dallapiccola, Luigi: Quaderno musicale di Annalibera, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], pc set (0, 1, 3, 5, 8, 9)
- Dallapiccola, Luigi: Quattro liriche di Antonio Machado, i, iv, [0, 3, 5, 6, 8, 9, 11, 10, 7, 4, 2, 1], pc set (0, 1, 3, 4, 6, 9)
- Dallapiccola, Luigi: Requiescant, [0, 2, 1, 3, 4, 6, 7, 9, 8, 10, 5, 11], pc set (0, 1, 2, 3, 4, 6)
- Dallapiccola, Luigi: Requiescant (alternative view), [0, 2, 1, 7, 11, 8, 9, 6, 10, 4, 3, 5], pc set (0, 1, 2, 3, 6, 7)
- Dallapiccola, Luigi: Tempus, 'Exhortatio', [0, 11, 9, 3, 5, 6, 4, 7, 8, 2, 1, 10], pc set (0, 1, 3, 6, 7, 9)
- Dallapiccola, Luigi: Tempus, 'Ploratus', [0, 1, 7, 6, 10, 4, 3, 2, 5, 11, 9, 8], pc set (0, 1, 3, 6, 7, 9)
- Dallapiccola, Luigi: Ulisse [opera], [0, 2, 1, 3, 9, 8, 11, 10, 4, 6, 5, 7], pc set (0, 1, 2, 3, 6, 7)
- Dallapiccola, Luigi: Variazioni per orchestra, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], pc set (0, 1, 3, 5, 8, 9)
- Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.2, [0, 7, 11, 1, 3, 5, 8, 6, 4, 9, 10, 2], pc set (0, 1, 2, 4, 6, 8)
- Davies, Peter Maxwell: Sonata for Trumpet and Piano, Op.1, [0, 7, 6, 2, 11, 10, 8, 9, 1, 5, 3, 4], pc set (0, 1, 4, 5, 6, 8)
- Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 6-4-6-4-6-1-
- Denisov, Edison: Five Etudes for Solo Bassoon, row A, [0, 6, 1, 7, 8, 3, 2, 9, 10, 5, 11, 4], pc set (0, 1, 2, 5, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row D, [0, 6, 1, 7, 8, 3, 2, 9, 10, 11, 5, 4], pc set (0, 1, 2, 5, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row E, [0, 1, 7, 6, 5, 11, 10, 4, 3, 8, 2, 9], pc set (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row F, [0, 6, 1, 7, 3, 2, 8, 9, 10, 5, 11, 4], pc set (0, 1, 2, 3, 6, 7)
- Denisov, Edison: Five Etudes for Solo Bassoon, row I, [0, 6, 1, 7, 2, 8, 3, 10, 5, 11, 9, 4], pc set (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row J, [0, 6, 5, 11, 4, 10, 9, 3, 2, 7, 1, 8], pc set (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Octet for Winds, mvt 2, row A, [0, 1, 3, 2, 4, 5, 8, 7, 6, 11, 9, 10], pc set (0, 1, 2, 3, 4, 5)
- Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], pc set (0, 1, 2, 6, 7, 8)
- Dessau, Paul: >Guernica< for piano, [0, 7, 6, 2, 10, 11, 5, 9, 1, 3, 4, 8], pc set (0, 1, 4, 5, 6, 8)
- Dessau, Paul: Les Voix, [0, 11, 6, 8, 9, 3, 4, 10, 5, 7, 2, 1], pc set (0, 1, 3, 4, 6, 9)
- Eder, Helmut: Concerto for violin and orchestra, Op.32, [0, 9, 6, 2, 11, 3, 8, 1, 7, 5, 10, 4], pc set (0, 1, 3, 4, 6, 9)
- Eisler, Hanns: Der Zweck der Musik, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 2-2-1-2-2-9-
- Eisler, Hanns: Deutsche Symphonie, mvt 5, [0, 1, 3, 5, 8, 9, 6, 11, 10, 4, 2, 7], pc set (0, 1, 3, 5, 8, 9)
- Eisler, Hanns: Deutsche Symphonie, mvt 8, [0, 3, 1, 11, 2, 10, 8, 9, 6, 7, 5, 4], pc set (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Deutsche Symphonie, mvt 9, [0, 4, 1, 10, 8, 6, 3, 11, 9, 2, 5, 7], pc set (0, 1, 3, 5, 7, 9)
- Eisler, Hanns: Deutsche Symphonie, mvts 1, 10, [0, 10, 6, 1, 11, 7, 5, 8, 9, 3, 4, 2], pc set (0, 1, 2, 3, 6, 7)
- Eisler, Hanns: Five Pieces for Orchestra, mvt 3, [0, 3, 2, 1, 5, 4, 6, 9, 8, 11, 10, 7], pc set (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Five Pieces for Orchestra, mvt 4, [0, 10, 9, 8, 6, 7, 3, 4, 5, 11, 1, 2], pc set (0, 1, 2, 3, 4, 6)
- Eisler, Hanns: Five Pieces for Orchestra, mvt 5, [0, 2, 6, 4, 10, 9, 11, 1, 7, 5, 8, 3], pc set (0, 1, 3, 5, 7, 9)
- Eisler, Hanns: Gegen den Krieg, Op.55, [0, 3, 2, 5, 4, 7, 6, 8, 9, 10, 1, 11], pc set (0, 2, 3, 4, 5, 7)
- Eisler, Hanns: Man lebt von einem Tage zu dem andern ("Kantate im Exil"), [0, 10, 11, 3, 1, 8, 7, 4, 2, 6, 9, 5], pc set (0, 2, 3, 4, 5, 7)
- Eisler, Hanns: Palmström, Op.5, No.5, [0, 10, 11, 9, 8, 1, 7, 6, 5, 3, 4, 2], pc set (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Sonata for Piano, No.2 ("in Form von Variationen"), Op.6, row variant 1, [0, 4, 6, 3, 2, 1, 9, 10, 7, 8, 5, 11], pc set (0, 1, 2, 3, 4, 6)
- Eisler, Hanns: Sonata for Piano, No.2 ("in Form von Variationen"), Op.6, row variant 2, [0, 4, 3, 2, 6, 1, 9, 10, 7, 8, 5, 11], pc set (0, 1, 2, 3, 4, 6)
- Eisler, Hanns: Sonata for Piano, No.2 ("in Form von Variationen"), Op.6, row variant 5, [0, 3, 2, 4, 6, 1, 9, 10, 7, 8, 5, 11], pc set (0, 1, 2, 3, 4, 6)
- Eisler, Hanns: String Quartet, [0, 9, 3, 2, 11, 1, 4, 5, 10, 7, 8, 6], pc set (0, 1, 2, 3, 4, 6)
- Eisler, Hanns: Suite for Orchestra, No.1, mvt 4, [0, 4, 2, 3, 1, 11, 7, 10, 9, 8, 6, 5], pc set (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Variations for Piano, [0, 3, 10, 6, 5, 8, 1, 11, 2, 4, 7, 9], pc set (0, 2, 3, 5, 7, 9)
- Eisler, Hanns: Zwei Elegien, No.2 (An die Überlebenden), [0, 1, 4, 3, 2, 6, 8, 11, 10, 9, 5, 7], pc set (0, 1, 2, 3, 4, 6)
- Evans, Bill: Twelve Tone Tune, [0, 10, 2, 3, 1, 11, 4, 6, 9, 8, 5, 7], pc set (0, 1, 2, 3, 4, 5)
- Evans, Bill: Twelve Tone Tune Two, [0, 9, 11, 1, 10, 3, 2, 6, 4, 5, 8, 7], pc set (0, 1, 2, 3, 4, 6)
- Fano, Michel: Sonata for Two Pianos, [0, 6, 10, 7, 9, 8, 3, 2, 4, 1, 5, 11], pc set (0, 1, 2, 3, 4, 6)
- Fine, Vivian: Chaconne for piano, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Fine, Vivian: Four Songs, No.2, "Comfort To A Youth That Had Lost His Love", [0, 1, 2, 6, 9, 10, 11, 3, 5, 4, 7, 8], pc set (0, 1, 2, 4, 5, 8)
- Finney, Ross Lee: Concerto for Alto Sax, [0, 1, 3, 4, 6, 9, 11, 10, 8, 7, 5, 2], pc set (0, 1, 3, 4, 6, 9)
- Finney, Ross Lee: Fantasy in Two Movements for solo violin, [0, 1, 3, 5, 4, 2, 11, 10, 8, 6, 7, 9], pc set (0, 1, 2, 3, 4, 5)
- Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 1-2-11-2-1-1-
- Florey, Hans: Die Aussicht, [0, 9, 11, 8, 2, 10, 5, 6, 7, 4, 3, 1], pc set (0, 1, 2, 3, 4, 6)
- Florey, Hans: Hexaeder für Klavier, [0, 9, 4, 8, 5, 10, 11, 3, 2, 6, 1, 7], pc set (0, 1, 4, 5, 6, 8)
- Florey, Hans: Hälfte des Lebens, [0, 3, 4, 1, 7, 11, 6, 9, 10, 8, 2, 5], pc set (0, 1, 2, 4, 5, 8)
- Florey, Hans: I Ging, [0, 7, 2, 10, 11, 6, 5, 1, 9, 8, 4, 3], pc set (0, 1, 4, 5, 6, 8)
- Florey, Hans: Magischer Würfel mit 6 Spiegelpunkten, [0, 10, 1, 7, 4, 6, 5, 8, 3, 9, 2, 11], pc set (0, 1, 3, 6, 7, 9)
- Florey, Hans: Sechs Kanonzyklen einunddesselben magischen Quadrates, [0, 10, 1, 7, 4, 6, 5, 8, 3, 9, 2, 11], pc set (0, 1, 3, 6, 7, 9)
- Florey, Hans: Triptychon, [0, 8, 9, 3, 7, 2, 1, 10, 5, 6, 11, 4], pc set (0, 1, 2, 5, 7, 8)
- Florey, Hans: Zwölftonspiel für Streichquartett. 3. Dezember 1965, [0, 10, 2, 5, 3, 4, 1, 8, 9, 6, 7, 11], pc set (0, 1, 2, 3, 5, 7)
- Gerhard, Roberto: Capriccio for Solo Flute, [0, 11, 9, 3, 1, 10, 8, 6, 4, 7, 2, 5], pc set (0, 1, 2, 3, 4, 6)
- Gerhard, Roberto: Chaconne for Unaccompanied Violin, [0, 11, 4, 2, 1, 3, 9, 10, 8, 6, 5, 7], pc set (0, 1, 2, 3, 4, 5)
- Gerhard, Roberto: Hymnody, [0, 10, 11, 8, 2, 9, 4, 5, 1, 6, 7, 3], pc set (0, 1, 2, 3, 4, 6)
- Gerhard, Roberto: Libra, [0, 6, 1, 7, 2, 8, 4, 9, 5, 10, 11, 3], pc set (0, 1, 2, 6, 7, 8)
- Gerhard, Roberto: String Quartet, [0, 7, 8, 2, 6, 10, 9, 11, 4, 5, 1, 3], pc set (0, 1, 2, 4, 6, 8)
- Gerhard, Roberto: String Quartet, No.2, [0, 1, 5, 2, 8, 7, 10, 9, 6, 11, 4, 3], pc set (0, 1, 2, 5, 7, 8)
- Gerhard, Roberto: The Plague, [0, 1, 9, 11, 8, 10, 4, 5, 6, 2, 3, 7], pc set (0, 1, 2, 3, 4, 5)
- Gerhard, Roberto: Three Impromptus, [0, 8, 1, 10, 4, 6, 7, 5, 3, 2, 9, 11], pc set (0, 1, 3, 5, 7, 9)
- Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6], pc set (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 1, [0, 1, 6, 7, 8, 2, 10, 11, 5, 4, 9, 3], pc set (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-3-1-1-9-5-
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 3, [0, 5, 6, 11, 2, 1, 8, 7, 10, 4, 9, 3], pc set (0, 1, 2, 3, 6, 7)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1], pc set (0, 1, 2, 3, 6, 7)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 5, [0, 1, 7, 6, 5, 11, 2, 8, 9, 10, 4, 3], pc set (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 7, [0, 1, 8, 2, 7, 6, 5, 11, 9, 10, 4, 3], pc set (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Quintet, Op.29, Row Class III 1, [0, 11, 1, 8, 2, 7, 10, 3, 9, 4, 6, 5], pc set (0, 1, 2, 3, 6, 7)
- Ginastera, Alberto: Quintet, Op.29, Row Class III 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], pc set (0, 1, 2, 3, 6, 7)
- Ginastera, Alberto: Quintet, Op.29, Row Class V, [0, 5, 4, 7, 3, 2, 6, 9, 8, 1, 10, 11], pc set (0, 2, 3, 4, 5, 7)
- Ginastera, Alberto: Quintet, Op.29, Row Class VII 1, [0, 9, 10, 11, 4, 3, 6, 2, 1, 5, 8, 7], pc set (0, 1, 2, 3, 6, 7)
- Ginastera, Alberto: Quintet, Op.29, Row Class VII 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], pc set (0, 1, 2, 3, 6, 7)
- Ginastera, Alberto: Quintet, Op.29, Row Class VII S, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Quintet, Op.29, mvt.III, [0, 7, 3, 10, 2, 6, 9, 1, 4, 8, 11, 5], pc set (0, 1, 3, 5, 8, 9)
- Ginastera, Alberto: Sonata for Cello and Piano, Op.49, [0, 3, 2, 1, 10, 11, 8, 9, 5, 4, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 3, [0, 9, 3, 2, 11, 6, 5, 1, 8, 7, 4, 10], pc set (0, 1, 3, 4, 6, 9)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 4, [0, 2, 1, 5, 3, 4, 7, 8, 6, 10, 9, 11], pc set (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6, [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], pc set (0, 1, 4, 5, 8, 9)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 7, [0, 9, 10, 11, 8, 7, 6, 3, 4, 5, 2, 1], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 9-1-1-9-11-11-
- Ginastera, Alberto: Turbae ad Passionem Gregorianam, Op.43, mvt II, [0, 5, 1, 7, 6, 11, 8, 2, 3, 4, 9, 10], pc set (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Violin Concerto, Op.30, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-3-1-1-9-5-
- Goehr, Alexander: Piano Trio, Op.20, [0, 6, 7, 4, 3, 8, 5, 9, 11, 2, 10, 1], pc set (0, 1, 2, 4, 5, 8)
- Goeyvaerts, Karel: Violin concerto, No.2, [0, 11, 7, 1, 2, 9, 10, 8, 5, 6, 3, 4], pc set (0, 1, 2, 3, 5, 7)
- Gotham, Mark: 4x4x4x4, row 3, [0, 2, 6, 10, 7, 4, 11, 9, 8, 3, 5, 1], pc set (0, 1, 3, 5, 7, 9)
- Gotham, Mark: 4x4x4x4, row 4, [0, 2, 6, 10, 1, 4, 5, 3, 8, 9, 11, 7], pc set (0, 2, 3, 4, 6, 8)
- Gotham, Mark: Move On!, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], pc set (0, 1, 3, 6, 7, 9)
- Hamel, Peter Michael: 'Klangspirale' für 13 Spieler oder drei Orchestergruppen, [0, 10, 5, 9, 3, 4, 1, 6, 8, 11, 2, 7], pc set (0, 1, 2, 5, 7, 8)
- Hartmann, Karl Amadeus: Symphony, No.4, [0, 1, 3, 2, 11, 4, 5, 10, 7, 6, 8, 9], pc set (0, 1, 2, 3, 4, 5)
- Hauer, Jose Matthias: XXXII. Zwölftonspiel; für Violine, Bratsche und Cello, [0, 2, 6, 1, 10, 9, 5, 8, 11, 7, 4, 3], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: 'Atonale Musik'. Klavierstücke 1922., Op.20, [0, 7, 4, 9, 5, 8, 3, 11, 2, 6, 1, 10], pc set (0, 1, 3, 4, 5, 8)
- Hauer, Josef Matthias: 'Der Menschen Weg', Op.67, [0, 8, 5, 4, 10, 2, 7, 9, 1, 3, 11, 6], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: 'Die schwarze Spinne', Op.62, [0, 4, 10, 1, 5, 8, 11, 2, 7, 9, 6, 3], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: 'Emilie vor ihrem Brauttag' (Friedrich Hölderlin) für Altsolo und Orchester, Op.58, [0, 8, 3, 4, 11, 6, 9, 10, 2, 1, 5, 7], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: 'Salambo', opera after Gustave Flaubert;, Op.60, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: 'Tanz tibetanischer Mönche' im langsamen 3/4 Takt) [Zwölftonspiel]. 8. September 1956, [0, 7, 8, 6, 3, 1, 11, 2, 10, 5, 9, 4], pc set (0, 1, 2, 5, 7, 8)
- Hauer, Josef Matthias: 'Wandlungen' (chamber-oratorio for stage or concert, for six solo-voices, choir and orchestra; after words of Friedrich Hölderlin), Op.53, [0, 5, 11, 4, 10, 1, 6, 8, 9, 3, 7, 2], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: Baustein, [0, 8, 11, 1, 6, 10, 4, 2, 3, 5, 9, 7], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Fünfte Tanzfantasie für kleines Orchester, Opus 66, [0, 10, 4, 7, 8, 11, 6, 2, 5, 9, 3, 1], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Harmonie - Melodie - Rhythmus - in kristallischer Bindung - im vierfachen Kontrapunkt [Zwölftonspiel] für Zwölftonorchester, [0, 2, 10, 9, 6, 5, 1, 4, 7, 11, 8, 3], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Hausmusik [Zwölftonspiel] für zwei Violinen und Klavier, [0, 1, 5, 3, 7, 10, 9, 6, 11, 4, 2, 8], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Kammermusik [Zwölftonspiel] für Flöte, Oboe, Baßklarinette, Fagott, zwei Violinen, Bratsche, Cello und Klavier zu vier Händen. 24. Jänner 1957, [0, 9, 3, 7, 5, 10, 1, 6, 11, 4, 2, 8], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Klavierstücke mit Überschriften nach Worten von Friedrich Hölderlin, Op.25 ;, No.10, [0, 6, 11, 10, 9, 5, 2, 3, 7, 1, 4, 8], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für Orchester. 10. Jänner 1957, [0, 8, 10, 2, 3, 6, 1, 9, 7, 4, 11, 5], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für zwei Violinen, Bratsche, Cello und Klavier zu zwei Händen, [0, 6, 2, 11, 10, 7, 3, 4, 5, 9, 1, 8], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.106-108), [0, 10, 6, 1, 7, 4, 9, 5, 3, 8, 11, 2], pc set (0, 1, 3, 6, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.117-118), [0, 4, 5, 11, 7, 10, 3, 9, 6, 2, 1, 8], pc set (0, 1, 2, 5, 7, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.119-120), [0, 10, 8, 6, 5, 7, 9, 2, 3, 1, 11, 4], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.123-124), [0, 8, 11, 5, 3, 7, 4, 9, 1, 6, 10, 2], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.125-126), [0, 11, 1, 10, 6, 8, 9, 5, 7, 3, 2, 4], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.134-137), [0, 2, 1, 4, 5, 9, 6, 8, 10, 7, 11, 3], pc set (0, 1, 3, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.138-140), [0, 3, 4, 2, 5, 6, 8, 7, 10, 11, 1, 9], pc set (0, 1, 2, 3, 4, 6)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.139-141), [0, 2, 10, 1, 11, 9, 8, 5, 6, 4, 7, 3], pc set (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.141-143), [0, 10, 11, 3, 5, 6, 7, 2, 1, 4, 8, 9], pc set (0, 1, 2, 5, 7, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.142-143), [0, 11, 10, 1, 5, 3, 8, 6, 9, 4, 7, 2], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.143-145), [0, 9, 10, 2, 1, 11, 4, 6, 7, 5, 8, 3], pc set (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.159-161), [0, 5, 1, 8, 10, 4, 6, 7, 3, 9, 11, 2], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.171-174), [0, 7, 1, 3, 9, 6, 8, 11, 10, 5, 4, 2], pc set (0, 1, 3, 6, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.175-178), [0, 10, 1, 2, 6, 5, 3, 4, 8, 9, 7, 11], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.192-193), [0, 9, 6, 2, 8, 4, 7, 10, 1, 3, 5, 11], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.196-197), [0, 2, 8, 6, 11, 5, 4, 10, 7, 3, 1, 9], pc set (0, 1, 3, 6, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.213-216), [0, 2, 6, 1, 10, 4, 5, 8, 11, 7, 3, 9], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.224-228), [0, 1, 9, 3, 4, 5, 10, 11, 6, 2, 8, 7], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.228-230), [0, 2, 9, 6, 5, 10, 7, 3, 8, 1, 4, 11], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.231-233), [0, 6, 10, 3, 2, 8, 9, 5, 4, 1, 11, 7], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.234-237), [0, 11, 3, 1, 7, 4, 9, 6, 5, 10, 2, 8], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.241-243), [0, 2, 8, 1, 4, 9, 5, 6, 3, 11, 10, 7], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.257-262), [0, 7, 3, 8, 4, 2, 9, 1, 11, 6, 10, 5], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.262-263), [0, 11, 2, 5, 1, 6, 9, 7, 10, 3, 4, 8], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.272-276), [0, 1, 5, 3, 7, 2, 8, 10, 4, 6, 11, 9], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.284-287), [0, 1, 11, 7, 6, 4, 10, 5, 2, 8, 3, 9], pc set (0, 1, 2, 5, 7, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.288-291), [0, 2, 10, 7, 4, 6, 11, 3, 5, 1, 8, 9], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.292-294), [0, 9, 2, 6, 3, 5, 10, 1, 11, 7, 4, 8], pc set (0, 1, 3, 4, 6, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.325-328), [0, 5, 4, 2, 7, 6, 3, 11, 1, 8, 10, 9], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.328-332), [0, 3, 2, 7, 6, 10, 9, 11, 8, 5, 1, 4], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.331-334), [0, 4, 3, 2, 1, 11, 7, 10, 5, 6, 8, 9], pc set (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.362-365), [0, 7, 5, 3, 10, 8, 4, 2, 9, 6, 11, 1], pc set (0, 2, 4, 5, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.366-371), [0, 5, 1, 7, 3, 2, 4, 8, 11, 6, 10, 9], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.372-375), [0, 8, 6, 1, 10, 11, 5, 9, 7, 4, 3, 2], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.387-390), [0, 3, 7, 4, 10, 1, 11, 9, 6, 8, 2, 5], pc set (0, 1, 3, 4, 6, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.403-409), [0, 11, 2, 10, 8, 1, 5, 3, 4, 6, 7, 9], pc set (0, 1, 2, 3, 4, 6)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.422-425), [0, 6, 4, 2, 10, 9, 8, 5, 11, 7, 1, 3], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.425-427), [0, 8, 10, 7, 4, 2, 3, 5, 6, 11, 1, 9], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.430-432), [0, 6, 8, 10, 9, 2, 7, 1, 3, 4, 5, 11], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.438-441), [0, 1, 10, 8, 9, 4, 3, 5, 7, 11, 6, 2], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.441-445), [0, 1, 9, 8, 10, 4, 6, 5, 7, 2, 3, 11], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.451-453), [0, 2, 4, 1, 6, 11, 3, 8, 9, 7, 5, 10], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.452-455), [0, 5, 7, 8, 1, 2, 3, 4, 6, 11, 10, 9], pc set (0, 1, 2, 5, 7, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.457-458), [0, 3, 4, 5, 8, 1, 6, 11, 9, 10, 2, 7], pc set (0, 1, 3, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.463-464), [0, 4, 6, 7, 3, 9, 1, 10, 8, 11, 5, 2], pc set (0, 1, 3, 4, 6, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.479-483), [0, 6, 10, 9, 7, 8, 11, 4, 5, 3, 2, 1], pc set (0, 1, 2, 3, 4, 6)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.494-496), [0, 7, 8, 5, 6, 11, 2, 3, 9, 4, 1, 10], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.50-53), [0, 2, 10, 4, 5, 3, 6, 7, 1, 8, 9, 11], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.501-503), [0, 5, 7, 1, 3, 2, 6, 10, 11, 8, 9, 4], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.503-507), [0, 10, 1, 2, 3, 5, 7, 11, 4, 8, 9, 6], pc set (0, 2, 3, 4, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.511-514), [0, 10, 1, 4, 6, 2, 9, 7, 11, 8, 5, 3], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.517-521), [0, 2, 10, 11, 6, 4, 5, 1, 3, 9, 8, 7], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.528-531), [0, 6, 7, 5, 8, 10, 9, 11, 4, 2, 1, 3], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.60-63), [0, 4, 1, 2, 9, 8, 10, 5, 11, 3, 6, 7], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.72-73), [0, 1, 7, 11, 4, 3, 9, 6, 5, 2, 10, 8], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.73-78), [0, 8, 7, 2, 4, 11, 1, 3, 6, 5, 10, 9], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.84-87), [0, 10, 1, 11, 5, 3, 2, 6, 7, 8, 9, 4], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.93-94), [0, 1, 10, 8, 6, 2, 9, 4, 11, 7, 5, 3], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (row 1), [0, 8, 9, 5, 4, 6, 10, 11, 7, 1, 2, 3], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Nomos, Op.19 (row 2), [0, 6, 10, 4, 3, 2, 8, 7, 11, 9, 5, 1], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Paraphonie [Zwölftonspiel] für Bratsche und Klavier, [0, 4, 10, 5, 8, 1, 11, 7, 2, 9, 6, 3], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Romantische Phantasie für Orchester, [0, 10, 8, 5, 1, 9, 4, 11, 3, 7, 6, 2], pc set (0, 1, 3, 4, 5, 8)
- Hauer, Josef Matthias: Sakraler Tanz [Zwölftonspiel] für Orchester, [0, 3, 10, 8, 5, 2, 9, 1, 11, 6, 4, 7], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Sechste Suite für Orchester, Op.47, [0, 9, 6, 2, 8, 3, 10, 11, 7, 4, 5, 1], pc set (0, 1, 3, 6, 7, 9)
- Hauer, Josef Matthias: Symphonische Stücke für Streichorchester, Klavier und Harmonium, Op.49, [0, 4, 6, 3, 2, 8, 1, 11, 10, 7, 9, 5], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Tanz im langsamen 3/4 Takt [Zwölftonspiel] für zwei Violinen, zwei Bratschen und Klavier zu zwei Händen, [0, 3, 10, 2, 11, 6, 8, 7, 4, 9, 1, 5], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: VIII. Zwölftonspiel für Orchester. Juni 1943, [0, 5, 10, 8, 4, 2, 11, 9, 3, 1, 7, 6], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Violinkonzert, Op.54 (9. März - 6. April 1928), [0, 7, 6, 8, 4, 11, 1, 10, 5, 9, 2, 3], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: XXI. Zwölftonspiel für Orchester; mit einer Zwöfftonreihe, die in sechs Tropen steht, und vom Kulturreferenten der Stadt Wien Dr. Viktor Matejka gewählt wurde. Erster Teil 2,4-Takt (Halbe = 50) mit achttaktigen Perioden; zweiter Teil im 3/4 Takt (punktierte Halbe = 40) mit sechstaktigen Perioden, [0, 3, 4, 9, 11, 10, 1, 7, 6, 2, 5, 8], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: XXII. Zwölftonspiel für Klavier, [0, 2, 11, 6, 7, 10, 1, 3, 8, 4, 9, 5], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: XXIII. Zwölftonspiel für Klavierquintett, [0, 4, 11, 9, 10, 2, 6, 3, 7, 5, 8, 1], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: XXIV. Zwölftonspiel für Klavier, [0, 2, 9, 3, 8, 1, 4, 7, 11, 5, 6, 10], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: XXIX. Zwölftonspiel für Cembalo; mit der Sokolowski-Reihe zu Bachs Geburtstag, [0, 11, 2, 1, 4, 3, 10, 5, 8, 9, 6, 7], pc set (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: XXXII. Zwölftonspiel für Violine, zwei Bratschen und Cello (2/2), [0, 7, 4, 3, 11, 2, 5, 1, 10, 9, 6, 8], pc set (0, 1, 3, 4, 5, 8)
- Hauer, Josef Matthias: Zwölftonspiel (Weihnachten 1947) für Klarinette, Violine, Bratsche, Cello und Klavier, [0, 6, 2, 10, 8, 3, 11, 4, 9, 7, 5, 1], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel 10. Juli 1957; für Klavier zu vier Händen, [0, 8, 10, 6, 2, 11, 1, 3, 9, 4, 7, 5], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel 15. Juni 1957; für Flöte, Oboe, Bassklarinette, Fagott, zwei Violinen, Viola, Violoncello & Klavier vierhändig, [0, 6, 4, 8, 3, 11, 9, 2, 7, 1, 10, 5], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Zwölftonspiel 2. Juni 1948 für Streichquartett und Klavier, [0, 3, 10, 6, 2, 11, 1, 4, 7, 9, 5, 8], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Zwölftonspiel 26. Juli 1957, für Flöte, Oboe, Bassklarinette, Fagott und Streichquartett, [0, 4, 1, 6, 8, 2, 10, 7, 3, 9, 11, 5], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel 3. Mai 1958; für Streichsextett, [0, 4, 10, 3, 7, 1, 8, 2, 11, 6, 9, 5], pc set (0, 1, 3, 4, 6, 9)
- Hauer, Josef Matthias: Zwölftonspiel 5. September 1957; für Violine, Bratsche und Klavier, [0, 4, 2, 9, 10, 6, 11, 1, 7, 3, 8, 5], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel 7. April 1957; für zwei Violinen, Bratsche, Cello und Klavier zu vier Händen, [0, 6, 2, 9, 10, 4, 11, 3, 7, 1, 5, 8], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel 9. September 1957; für vier Solostimmen [S, A, T, B], Violine, Bratsche und Klavier, [0, 4, 2, 9, 10, 6, 11, 1, 7, 3, 8, 5], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel Jänner 1957; für zwei Violinen, Bratsche und Cello, [0, 10, 6, 2, 8, 3, 5, 7, 9, 4, 1, 11], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel Oktober 1956; für Klavier zu vier Händen, [0, 9, 6, 2, 8, 3, 10, 5, 1, 11, 7, 4], pc set (0, 1, 3, 6, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Flöte, Horn, Violine, Bratsche, Cello und Klavier, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Gitarre. 24. 7. 1949, [0, 6, 10, 2, 5, 9, 1, 4, 7, 3, 11, 8], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 11. Juni 1955, [0, 6, 11, 4, 2, 9, 3, 1, 5, 7, 10, 8], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 17. Juli 1952, [0, 6, 4, 9, 2, 10, 7, 11, 1, 8, 5, 3], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 2. Juni 1955, [0, 10, 2, 7, 3, 6, 4, 8, 1, 9, 11, 5], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 24. Dezember 1946, [0, 1, 2, 6, 10, 5, 11, 4, 3, 9, 7, 8], pc set (0, 1, 4, 5, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 7. Juni 1955, [0, 4, 10, 7, 11, 8, 3, 1, 5, 6, 2, 9], pc set (0, 1, 2, 4, 5, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. März 1953, [0, 6, 8, 7, 5, 10, 2, 3, 11, 4, 9, 1], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, Violine, Bratsche, Cello und Kontrabaß (melischer Entwurf vom 29.8.1954), [0, 4, 2, 7, 9, 6, 8, 3, 11, 5, 10, 1], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, mit einer Zwölftonreihe von Nikolaus Fheodoroff. 10. Juli 1952, [0, 10, 6, 8, 9, 7, 11, 3, 1, 5, 2, 4], pc set (0, 1, 2, 3, 4, 6)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, mit einer Zwölftonreihe von Nikolaus Fheodoroff. 8. Juli 1952, [0, 2, 10, 6, 8, 7, 5, 9, 11, 3, 1, 4], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, zwei Violinen, Bratsche und Cello. 19. Oktober 1954, [0, 6, 11, 2, 1, 5, 3, 8, 10, 7, 9, 4], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 13. März 1952, [0, 5, 9, 10, 8, 1, 4, 3, 6, 7, 11, 2], pc set (0, 1, 3, 4, 5, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 24. Juni 1952, [0, 6, 10, 7, 9, 3, 4, 1, 8, 5, 11, 2], pc set (0, 1, 3, 4, 6, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 26. Juni 1952, [0, 6, 2, 10, 9, 5, 3, 4, 8, 7, 11, 1], pc set (0, 1, 3, 5, 8, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 30. Juni 1952, I, [0, 2, 10, 4, 11, 8, 1, 7, 5, 3, 6, 9], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. Mai 1955, [0, 6, 11, 4, 2, 9, 3, 1, 5, 7, 10, 8], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen und Akkordeon (Hausorchester), [0, 7, 2, 9, 6, 4, 11, 3, 10, 8, 1, 5], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen und Streichquartett, [0, 7, 2, 10, 6, 8, 3, 11, 9, 4, 1, 5], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954, [0, 8, 9, 6, 10, 4, 11, 1, 2, 5, 3, 7], pc set (0, 2, 3, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Orchester. September 1957, [0, 8, 6, 10, 5, 7, 2, 4, 1, 9, 11, 3], pc set (0, 1, 2, 3, 5, 7)
- Hauer, Josef Matthias: Zwölftonspiel für Violine, Cello und Klavier zu vier Händen, [0, 10, 6, 1, 8, 3, 11, 7, 2, 5, 9, 4], pc set (0, 2, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier. 3. April 1955, [0, 2, 6, 4, 9, 10, 5, 3, 7, 8, 11, 1], pc set (0, 1, 3, 5, 7, 9)
- Hauer, Josef Matthias: Zwölftonspiel für Orchester. 28. 9. 1954, [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, [0, 2, 3, 11, 1, 10, 8, 6, 4, 9, 7, 5], pc set (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche, Cello und Klavier. 16. April 1958, [0, 3, 8, 2, 9, 1, 11, 5, 7, 4, 6, 10], pc set (0, 1, 2, 3, 6, 7)
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche und Cello ('Ins Räumliche übertragen'). 3. September 1953, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], pc set (0, 1, 2, 4, 6, 8)
- Hauer, Josef Matthias: Zwölftonspiel in drei Teilen für zwei Violinen, Bratsche und Cello. 31. Juli 1953, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], pc set (0, 1, 2, 4, 6, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.10, [0, 4, 6, 7, 8, 10, 9, 5, 3, 2, 1, 11], pc set (0, 2, 3, 4, 6, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.11, [0, 4, 5, 6, 8, 9, 7, 3, 2, 1, 11, 10], pc set (0, 1, 2, 4, 5, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.12, [0, 3, 6, 7, 9, 10, 11, 8, 5, 4, 2, 1], pc set (0, 1, 3, 4, 6, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.13, [0, 3, 5, 7, 8, 10, 9, 6, 4, 2, 1, 11], pc set (0, 2, 4, 5, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.14, [0, 2, 5, 7, 8, 10, 11, 9, 6, 4, 3, 1], pc set (0, 2, 3, 5, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.15, [0, 1, 3, 6, 7, 9, 11, 10, 8, 5, 4, 2], pc set (0, 1, 3, 6, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.16, [0, 1, 3, 5, 7, 10, 9, 8, 6, 4, 2, 11], pc set (0, 2, 3, 5, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.17, [0, 1, 3, 5, 8, 9, 7, 6, 4, 2, 11, 10], pc set (0, 1, 3, 5, 8, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.18, [0, 3, 4, 6, 9, 10, 11, 8, 7, 5, 2, 1], pc set (0, 1, 3, 6, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.19, [0, 1, 4, 5, 8, 9, 11, 10, 7, 6, 3, 2], pc set (0, 1, 4, 5, 8, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.2, [0, 1, 2, 3, 4, 10, 9, 8, 7, 6, 5, 11], pc set (0, 1, 2, 3, 4, 6)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.20, [0, 1, 2, 5, 7, 8, 11, 10, 9, 6, 4, 3], pc set (0, 1, 2, 5, 7, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.21, [0, 1, 2, 5, 6, 10, 9, 8, 7, 4, 3, 11], pc set (0, 1, 4, 5, 6, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.22, [0, 1, 2, 4, 8, 9, 7, 6, 5, 3, 11, 10], pc set (0, 1, 4, 5, 6, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.23, [0, 3, 4, 5, 9, 10, 11, 8, 7, 6, 2, 1], pc set (0, 1, 2, 5, 7, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.24, [0, 3, 4, 7, 8, 10, 9, 6, 5, 2, 1, 11], pc set (0, 1, 3, 5, 8, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.25, [0, 3, 5, 6, 8, 9, 7, 4, 2, 1, 11, 10], pc set (0, 1, 3, 4, 6, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.26, [0, 3, 4, 6, 7, 8, 5, 2, 1, 11, 10, 9], pc set (0, 1, 2, 4, 5, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.27, [0, 2, 4, 5, 6, 7, 3, 1, 11, 10, 9, 8], pc set (0, 1, 2, 3, 5, 7)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.28, [0, 5, 7, 8, 9, 10, 11, 6, 4, 3, 2, 1], pc set (0, 2, 3, 4, 5, 7)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.29, [0, 1, 6, 7, 8, 9, 11, 10, 5, 4, 3, 2], pc set (0, 1, 2, 3, 6, 7)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.3, [0, 2, 3, 4, 5, 10, 11, 9, 8, 7, 6, 1], pc set (0, 1, 2, 3, 5, 7)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.30, [0, 1, 2, 6, 7, 8, 11, 10, 9, 5, 4, 3], pc set (0, 1, 2, 6, 7, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.31, [0, 1, 2, 3, 6, 7, 11, 10, 9, 8, 5, 4], pc set (0, 1, 2, 3, 6, 7)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.32, [0, 1, 2, 3, 4, 6, 11, 10, 9, 8, 7, 5], pc set (0, 1, 2, 3, 4, 6)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.4, [0, 2, 3, 4, 8, 10, 9, 7, 6, 5, 1, 11], pc set (0, 1, 2, 4, 6, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.5, [0, 2, 4, 5, 8, 10, 11, 9, 7, 6, 3, 1], pc set (0, 1, 3, 5, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.6, [0, 2, 4, 6, 8, 10, 9, 7, 5, 3, 1, 11], pc set (0, 2, 4, 6, 8, 10)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.7, [0, 2, 4, 6, 8, 9, 7, 5, 3, 1, 11, 10], pc set (0, 1, 3, 5, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.8, [0, 2, 4, 6, 7, 8, 5, 3, 1, 11, 10, 9], pc set (0, 1, 2, 4, 6, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.9, [0, 4, 6, 8, 9, 10, 11, 7, 5, 3, 2, 1], pc set (0, 2, 3, 4, 6, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.1, [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Hendler, Maximilian: aus den fünf Liedern nach Texten von Elisabeth Pöschl : 'Sonnenaufgang' für Singstimme und Klavier, Op.44-1, [0, 11, 2, 1, 5, 6, 4, 3, 8, 7, 9, 10], pc set (0, 1, 2, 3, 6, 7)
- Hendler, Maximilian: aus den fünf Liedern nach Texten von Karl Hans Haysen für Singstimme und Klavier : 'Erkenntnis', Op.45-2, [0, 9, 2, 4, 7, 11, 8, 10, 5, 1, 6, 3], pc set (0, 2, 4, 5, 7, 9)
- Huber, Klaus: Zwei Sätze, [0, 3, 1, 10, 11, 8, 6, 9, 7, 2, 4, 5], pc set (0, 2, 3, 4, 5, 7)
- Husa, Karel: Poème for Viola and Chamber Orchestra, mvt 1, [0, 6, 5, 7, 8, 11, 9, 10, 3, 4, 2, 1], pc set (0, 1, 2, 3, 6, 7)
- Husa, Karel: Poème for Viola and Chamber Orchestra, mvt 3, [0, 3, 1, 2, 4, 10, 9, 11, 7, 8, 6, 5], pc set (0, 1, 2, 3, 4, 6)
- Ives, Charles: On the Antipodes, [0, 3, 11, 8, 4, 7, 10, 9, 6, 2, 5, 1], pc set (0, 1, 4, 5, 8, 9)
- Ives, Charles: Tone Roads, No.3, [0, 11, 1, 3, 2, 10, 5, 8, 4, 7, 6, 9], pc set (0, 1, 2, 3, 4, 5)
- Johnston, Ben: String Quartet, No.6, [0, 5, 10, 9, 3, 7, 11, 6, 1, 2, 8, 4], pc set (0, 2, 3, 5, 7, 9)
- Jung, Joachim: , [0, 11, 3, 10, 2, 1, 7, 8, 4, 9, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Kahn, Erich Itor: Bagatelle für Rene Leibowitz, [0, 1, 2, 4, 6, 3, 10, 11, 5, 7, 9, 8], pc set (0, 1, 2, 3, 4, 6)
- Kalodiki, Georgia: Six Sketches for piano, [0, 7, 6, 1, 2, 9, 8, 3, 4, 11, 5, 10], pc set (0, 1, 2, 5, 7, 8)
- Klein, Fritz: Die Maschine: Eine extonale Selbstsatire, Op.1, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
- Klein, Fritz Heinrich: Die Maschine. Eine extonale Selbstsatire von Heautontimorumenus., Op.1 (Das Maschinen-Thema), [0, 5, 7, 9, 3, 2, 11, 6, 8, 10, 4, 1], pc set (0, 2, 3, 5, 7, 9)
- Klein, Fritz Heinrich: Variationen, Op.14, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
- Klenau, Paul von: Elisabeth von England, [0, 2, 8, 11, 7, 1, 4, 10, 3, 6, 5, 9], pc set (0, 1, 2, 3, 6, 7)
- Kokkonen, Joonas: Cello Concerto, mov. 2, row "II/A", [0, 2, 7, 4, 3, 5, 6, 1, 11, 8, 10, 9], pc set (0, 2, 3, 4, 5, 7)
- Kokkonen, Joonas: Cello Concerto, mov. 2, row "II/B", [0, 2, 3, 1, 4, 5, 7, 8, 6, 9, 10, 11], pc set (0, 1, 2, 3, 4, 5)
- Kokkonen, Joonas: Cello Concerto, mov. 2, row "II/C", [0, 9, 11, 10, 7, 2, 6, 3, 5, 4, 1, 8], pc set (0, 2, 3, 4, 5, 7), self-rotational interval pattern 9-2-11-9-7-4-
- Kokkonen, Joonas: Woodwind Quintet, mov. 1, rows "I/A" and "I/B", [0, 2, 11, 9, 10, 1, 3, 6, 4, 5, 7, 8], pc set (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: Eight Piano Pieces, [0, 10, 1, 7, 6, 11, 5, 8, 3, 9, 2, 4], pc set (0, 1, 2, 3, 6, 7)
- Krenek, Ernst: Karl V, King Francis Row, [0, 10, 5, 6, 11, 3, 9, 4, 2, 7, 1, 8], pc set (0, 1, 2, 5, 7, 8)
- Krenek, Ernst: Kette, Kreis, und Spiegel (Circle, Chain and Mirror), Op.160, [0, 5, 6, 9, 8, 4, 10, 7, 11, 3, 1, 2], pc set (0, 1, 2, 4, 5, 8)
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 1, [0, 2, 4, 5, 8, 10, 6, 7, 9, 11, 1, 3], pc set (0, 1, 3, 5, 7, 9)
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 2, [0, 2, 3, 6, 8, 10, 5, 7, 9, 11, 1, 4], pc set (0, 1, 3, 5, 7, 9)
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 3, [0, 1, 4, 6, 8, 10, 5, 7, 9, 11, 2, 3], pc set (0, 1, 3, 5, 7, 9)
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 4, [0, 3, 5, 7, 9, 11, 6, 8, 10, 1, 2, 4], pc set (0, 1, 3, 5, 7, 9)
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 5, [0, 2, 4, 6, 8, 9, 5, 7, 10, 11, 1, 3], pc set (0, 1, 3, 5, 7, 9)
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 6, [0, 2, 4, 6, 7, 10, 5, 8, 9, 11, 1, 3], pc set (0, 1, 3, 5, 7, 9)
- Krenek, Ernst: Quaestio temporis, Op.170, [0, 3, 11, 4, 2, 1, 7, 8, 10, 5, 9, 6], pc set (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: Sechs Vermessene, Op.168, [0, 3, 1, 6, 2, 4, 10, 5, 9, 7, 8, 11], pc set (0, 1, 2, 3, 4, 6)
- Krenek, Ernst: Sestina, Op.161, [0, 8, 11, 10, 4, 6, 7, 1, 5, 3, 9, 2], pc set (0, 1, 2, 4, 6, 8)
- Krenek, Ernst: Sonata, No.3, Op.92, No.4, [0, 10, 5, 8, 3, 2, 6, 7, 1, 9, 11, 4], pc set (0, 2, 3, 5, 7, 9)
- Krenek, Ernst: String Quartet, No.6, Op.78, [0, 10, 11, 8, 1, 9, 3, 7, 2, 4, 6, 5], pc set (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: Studies in Counterpoint, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], pc set (0, 1, 2, 3, 6, 7)
- Krenek, Ernst: Studies in Counterpoint (i), [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], pc set (0, 1, 2, 3, 6, 7)
- Krenek, Ernst: Studies in Counterpoint (ii), [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], pc set (0, 1, 2, 3, 6, 7)
- Krenek, Ernst: Suite, Op.84 for solo cello, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], pc set (0, 1, 2, 3, 6, 7)
- Krenek, Ernst: Symeon, der Stylit, [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], pc set (0, 1, 2, 3, 6, 7)
- Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5], pc set (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: Zwölf Variationen in Drei Satzen, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 6, 8], pc set (0, 2, 3, 4, 5, 7)
- Krenek, Ernst: Zwölf Variationen in Drei Sätzen, Op.79, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 8, 6], pc set (0, 2, 3, 4, 5, 7)
- Krenek, Ernst: concert for organ and string-orchestra, Op.230, [0, 11, 8, 4, 3, 6, 7, 5, 2, 9, 10, 1], pc set (0, 1, 3, 5, 8, 9)
- Kukuck, Felicitas: 'Der Gottesknecht': 6. Kantate, [0, 11, 10, 1, 2, 3, 8, 9, 6, 5, 7, 4], pc set (0, 1, 2, 3, 4, 5)
- Kukuck, Felicitas: 'Wo bist Du Trost'; motet, [0, 11, 10, 7, 6, 1, 2, 5, 4, 3, 9, 8], pc set (0, 1, 2, 3, 6, 7)
- Lackner, Peter: 'An alle Außerirdischen'. Kanon für drei Singstimmen, Kontrabaß und Klavier, [0, 4, 9, 7, 11, 2, 5, 1, 8, 10, 6, 3], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: 'Davongeflogene Seelen' für Singstimme, Violoncello und Klavier, [0, 10, 4, 7, 6, 1, 9, 11, 5, 2, 3, 8], pc set (0, 1, 3, 6, 7, 9)
- Lackner, Peter: 'Der Winter', [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8], pc set (0, 1, 3, 6, 7, 9)
- Lackner, Peter: 'Es fiel ein Reif in der Frühlingsnacht' für Singstimme und ein Melodie-Instrument, [0, 9, 4, 7, 2, 5, 1, 8, 10, 11, 3, 6], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: 'Euphorbia obesa'. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5], pc set (0, 2, 4, 6, 8, 10)
- Lackner, Peter: 'Flügelaltar' für Klavier, [0, 9, 11, 10, 2, 7, 1, 8, 4, 5, 3, 6], pc set (0, 2, 3, 4, 5, 7)
- Lackner, Peter: 'Hexentanz' für Violine und Klavier, [0, 3, 5, 7, 8, 4, 1, 10, 11, 2, 6, 9], pc set (0, 1, 3, 4, 5, 8)
- Lackner, Peter: 'INKE TAN MAGROV' für Singstimme und Klavier, [0, 6, 5, 10, 8, 3, 7, 1, 2, 9, 11, 4], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: 'Ständchen' für zwei Violinen und zwei Bratschen. 1913,2013, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: 'Venus-Quadrat' für Violine und Klavier, [0, 7, 2, 5, 9, 10, 11, 6, 8, 4, 3, 1], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: 'Wo ist der Freund' (erstes Lied aus dem Zyklus 'Wilde Erdbeeren' für Singstimme und Klavier), [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: 1. Kanonzyklus, [0, 7, 5, 9, 1, 3, 11, 8, 4, 6, 10, 2], pc set (0, 1, 3, 5, 7, 9)
- Lackner, Peter: 2. Kanonzyklus, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: 3. Kanonzyklus, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: 4. Kanonzyklus, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], pc set (0, 1, 2, 4, 6, 8)
- Lackner, Peter: 5. Kanonzyklus, [0, 7, 11, 9, 1, 3, 5, 8, 10, 6, 2, 4], pc set (0, 2, 3, 4, 6, 8)
- Lackner, Peter: AGNI MEI (Kanon für Klavier. 5. Juni 2015), [0, 4, 10, 11, 1, 2, 8, 7, 3, 6, 9, 5], pc set (0, 1, 2, 3, 4, 6)
- Lackner, Peter: Das Buch der Wandlungen I für Frauenstimmen und,oder Klavier, [0, 8, 3, 5, 1, 10, 7, 11, 4, 2, 6, 9], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Florianische Reihe, [0, 3, 9, 7, 4, 11, 5, 2, 8, 6, 1, 10], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: INKE TAN MAGROV für Singstimme und Klavier (zweites Lied aus dem Zyklus 'Wilde Erdbeeren'), [0, 2, 9, 5, 8, 11, 3, 1, 6, 10, 7, 4], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3], pc set (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon-Polska für zwei Bratschen. 6. Juni 1993, [0, 6, 3, 1, 10, 8, 5, 11, 2, 4, 7, 9], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon T6 á 2, [0, 10, 8, 3, 1, 5, 6, 4, 2, 9, 7, 11], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 10-10-7-10-4-1-
- Lackner, Peter: Kanon für B. L., 7. Oktober 2017, [0, 9, 10, 5, 3, 7, 11, 2, 1, 6, 8, 4], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon für Blockflötenquartett. April 2005, [0, 10, 11, 3, 1, 2, 8, 7, 9, 5, 4, 6], pc set (0, 1, 2, 3, 4, 5)
- Lackner, Peter: Kanon für Cello und Klavier, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für Flöte, Akkordeon, zwei Violinen, Bratsche und Klavier, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], pc set (0, 1, 2, 4, 6, 8)
- Lackner, Peter: Kanon für Flöte solo und N. N., [0, 3, 7, 10, 2, 5, 11, 8, 4, 1, 9, 6], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Flöte und Elektronik. Februar 1999, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Hammerklavier. März 2016, [0, 2, 1, 5, 7, 3, 11, 9, 10, 6, 4, 8], pc set (0, 1, 2, 3, 5, 7)
- Lackner, Peter: Kanon für Kammerorchester, [0, 9, 11, 6, 2, 4, 7, 10, 8, 1, 5, 3], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon für Klavier, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon für Klavier. 15. Juni 1992, [0, 10, 3, 8, 6, 5, 2, 1, 11, 4, 9, 7], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon für Klavier. 21. Juni 1998, [0, 7, 6, 5, 1, 4, 3, 8, 9, 10, 2, 11], pc set (0, 1, 2, 3, 6, 7)
- Lackner, Peter: Kanon für Klavier. 26. Juni 1983, [0, 7, 5, 9, 4, 8, 6, 1, 11, 3, 10, 2], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 7-10-4-7-4-10-
- Lackner, Peter: Kanon für Klavier. 27. Juni, 26. September 2002, [0, 9, 4, 1, 2, 8, 7, 10, 3, 6, 5, 11], pc set (0, 1, 4, 5, 6, 8)
- Lackner, Peter: Kanon für Klavier. 5. April 1989, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für Klavier. April 2000, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], pc set (0, 1, 2, 4, 6, 8)
- Lackner, Peter: Kanon für Klavier zu vier Händen, [0, 10, 5, 3, 7, 8, 6, 4, 11, 9, 1, 2], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 10-7-10-4-1-10-
- Lackner, Peter: Kanon für Klavier zu vier Händen. 12. Juni 1996, [0, 4, 2, 8, 11, 10, 5, 1, 3, 9, 6, 7], pc set (0, 2, 3, 4, 6, 8)
- Lackner, Peter: Kanon für Klavier zu vier Händen. Frühling 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2, 3], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: Kanon für Klavierquartett, [0, 8, 6, 11, 3, 9, 1, 5, 7, 2, 10, 4], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: Kanon für Klavierquartett. 27. April 1991, [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8], pc set (0, 1, 3, 6, 7, 9)
- Lackner, Peter: Kanon für Klavierquartett. 27. Juni 1991, [0, 2, 6, 9, 11, 3, 7, 5, 1, 10, 8, 4], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: Kanon für Klaviertrio, [0, 2, 4, 9, 5, 7, 3, 1, 11, 6, 10, 8], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Orgel, zweimanualiges Cembalo oder Klavier, [0, 7, 2, 11, 4, 9, 6, 8, 1, 5, 3, 10], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Orgel. 21. November 1994, 4. Februar 1995, [0, 8, 5, 1, 4, 9, 2, 11, 7, 3, 10, 6], pc set (0, 1, 4, 5, 8, 9)
- Lackner, Peter: Kanon für Schwegel, diatonisches Hackbrett und Violine, [0, 8, 4, 10, 6, 2, 5, 1, 9, 3, 11, 7], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 8-8-6-8-8-3-
- Lackner, Peter: Kanon für Schwegel und zwei Geigen, [0, 6, 4, 2, 10, 8, 9, 3, 5, 7, 11, 1], pc set (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für Schwegelpfeife in A und Geige, [0, 9, 7, 2, 10, 4, 3, 6, 8, 1, 5, 11], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon für Streichquartett, [0, 9, 3, 5, 1, 11, 7, 10, 4, 2, 6, 8], pc set (0, 2, 3, 4, 6, 8)
- Lackner, Peter: Kanon für Streichquartett. 22.September 2003, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3], pc set (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für Streichquartett. 3. Jänner 1990, [0, 6, 4, 8, 11, 3, 1, 7, 9, 5, 2, 10], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für Streichquartett und Orgel. 21. November 1993, [0, 10, 2, 5, 4, 7, 1, 11, 3, 9, 8, 6], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon für Tenor-Hackbrett. 19. März 2014, [0, 8, 4, 6, 9, 1, 11, 3, 7, 5, 2, 10], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für Violine, Bratsche und Klavier, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für Violine, Viola und Akkordeon. 11. Juni 2007, [0, 11, 1, 2, 3, 10, 4, 9, 8, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Lackner, Peter: Kanon für Violine solo, [0, 11, 2, 7, 10, 9, 3, 4, 1, 8, 5, 6], pc set (0, 2, 3, 4, 5, 7)
- Lackner, Peter: Kanon für Violine und Violoncello, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für acht Instrumente. Dezember 1991, März 2007, [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5], pc set (0, 1, 2, 4, 5, 8)
- Lackner, Peter: Kanon für drei Bratschen, [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5], pc set (0, 1, 2, 4, 5, 8)
- Lackner, Peter: Kanon für drei Violinen I, II August 1998, [0, 2, 10, 4, 8, 6, 1, 9, 11, 5, 3, 7], pc set (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für sechs Instrumente. 16. März 2009, [0, 7, 6, 3, 2, 10, 1, 8, 11, 5, 4, 9], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für sechs Posaunen. Herbst 1996, [0, 9, 1, 6, 4, 8, 11, 2, 10, 7, 5, 3], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon für zwei Gitarren. September 2001, [0, 5, 3, 9, 11, 6, 7, 2, 4, 10, 8, 1], pc set (0, 1, 3, 6, 7, 9)
- Lackner, Peter: Kanon für zwei Singstimmen und Ensemble zur Skulpturengruppe LEM von Axel Kirchmayr und einem Text von Hannes Waltl. September 2004, [0, 2, 9, 10, 5, 7, 1, 11, 4, 3, 8, 6], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für zwei Trompeten, Horn, Posaune und Tuba. 1. Mai 1993, [0, 1, 2, 10, 3, 5, 11, 9, 4, 8, 7, 6], pc set (0, 2, 3, 4, 5, 7)
- Lackner, Peter: Kanon für zwei Violinen, [0, 7, 4, 5, 9, 2, 3, 8, 11, 10, 6, 1], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für zwei Violinen. Frühjahr 1992, [0, 2, 4, 7, 9, 11, 5, 3, 1, 10, 8, 6], pc set (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004, [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5], pc set (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für zwei Violinen und Klavier. Frühjahr 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2, 3], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: Kanon à 3, [0, 11, 6, 10, 2, 7, 3, 4, 9, 5, 1, 8], pc set (0, 1, 4, 5, 6, 8)
- Lackner, Peter: Kanon à 4 - 'Für Harald Fripertinger zum 50. Geburtstag', [0, 10, 3, 6, 5, 8, 1, 11, 9, 4, 7, 2], pc set (0, 2, 3, 5, 7, 9)
- Lackner, Peter: Kanon á 4, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], pc set (0, 1, 3, 5, 8, 9)
- Lackner, Peter: Kanon á 5 für Klaus Chudoba, [0, 2, 10, 8, 6, 11, 3, 1, 5, 7, 9, 4], pc set (0, 2, 3, 4, 6, 8)
- Lackner, Peter: Moebius-Band für Flöte, Violine, Violoncello und Klavier, [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: Moebius-Band für sechs Violinen, [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: Moebiusband I für zwei Melodieinstrumente, [0, 6, 8, 2, 7, 1, 11, 5, 3, 9, 4, 10], pc set (0, 1, 2, 6, 7, 8)
- Lackner, Peter: Moebiusband für Violine und Klavier (Chinesenfolter I), [0, 2, 4, 6, 10, 5, 1, 11, 9, 7, 3, 8], pc set (0, 1, 2, 4, 6, 8)
- Lackner, Peter: Reihenspiel für Orgel, [0, 9, 6, 11, 5, 4, 10, 7, 2, 1, 8, 3], pc set (0, 1, 2, 5, 7, 8)
- Lackner, Peter: Salambo-Kanon (à 4); Bad Aussee, 2. Februar 2008, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], pc set (0, 2, 3, 4, 6, 8)
- Lackner, Peter: Sponsions-Kanon, [0, 4, 1, 10, 3, 7, 9, 5, 8, 11, 6, 2], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: TACET (drittes Lied aus dem Zyklus 'Wilde Erdbeeren'), [0, 2, 9, 5, 8, 11, 4, 7, 10, 6, 1, 3], pc set (0, 1, 3, 4, 6, 9)
- Lackner, Peter: Trauermusik für Fagott, Kontrafagott und Pauke, [0, 6, 2, 8, 10, 4, 11, 5, 9, 3, 1, 7], pc set (0, 2, 4, 6, 8, 10)
- Lackner, Peter: kgV (3,4) [zweistimmiger Kanon für Klavier], [0, 10, 2, 3, 5, 7, 1, 11, 9, 8, 4, 6], pc set (0, 2, 4, 5, 7, 9)
- Lang, Bernhard: 'Der Golem' nach Gustav Meyrinck, [0, 4, 7, 8, 11, 3, 5, 2, 9, 1, 10, 6], pc set (0, 1, 4, 5, 8, 9)
- Lang, Bernhard: Der Reigen, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6], pc set (0, 1, 2, 3, 4, 5)
- Lang, Bernhard: Hemma (Music Theatre Hemma Klagenfurt 2015), [0, 5, 10, 2, 3, 1, 7, 9, 8, 4, 11, 6], pc set (0, 2, 3, 4, 5, 7)
- Lang, Bernhard: Monadologie XIII a; 'The Saucy Maid', [0, 1, 5, 2, 4, 9, 3, 10, 8, 11, 7, 6], pc set (0, 1, 3, 4, 5, 8)
- Lang, Klaus: 'Von der Ligurischen Küste zum Trasimenischen See'; Trauermusik für Violine und Klavier, [0, 5, 9, 8, 10, 7, 1, 4, 2, 3, 11, 6], pc set (0, 2, 3, 4, 5, 7)
- Leibowitz, René: String Quartet, No.3, Op.26, [0, 8, 9, 7, 6, 1, 2, 5, 4, 10, 11, 3], pc set (0, 1, 2, 3, 6, 7)
- Leibowitz, René: Trois pièces pour piano, Op.19, [0, 4, 3, 1, 2, 5, 6, 9, 10, 8, 7, 11], pc set (0, 1, 2, 3, 4, 5)
- Lewin, David: Just a Minute, Roger, [0, 11, 4, 5, 7, 3, 2, 6, 8, 1, 10, 9], pc set (0, 1, 4, 5, 6, 8)
- Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1], pc set (0, 1, 2, 6, 7, 8), self-rotational interval pattern 6-11-6-11-6-5-
- Lu, Shi-Lin: A Family of Red-Crowned Cranes, [0, 2, 9, 7, 4, 6, 11, 8, 1, 3, 10, 5], pc set (0, 2, 3, 5, 7, 9)
- Lu, Yen: A Bird Flying By, [0, 6, 3, 4, 8, 7, 11, 5, 10, 2, 9, 1], pc set (0, 1, 2, 4, 5, 8)
- Luo, Zhong-Rong: Chang'e, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6], pc set (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Dusk, row 1, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], pc set (0, 2, 3, 5, 7, 9)
- Luo, Zhong-Rong: Dusk, row 2, [0, 3, 7, 5, 8, 10, 1, 11, 6, 2, 4, 9], pc set (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Evening, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], pc set (0, 2, 3, 5, 7, 9)
- Luo, Zhong-Rong: Morning Glory, [0, 2, 5, 9, 7, 10, 3, 11, 1, 4, 6, 8], pc set (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Picking lotus flowers at the riverside, [0, 2, 5, 7, 10, 3, 1, 4, 6, 9, 11, 8], pc set (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Sonatina, mvt 3, [0, 2, 7, 4, 11, 8, 5, 9, 10, 1, 3, 6], pc set (0, 1, 3, 5, 8, 9)
- Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7], pc set (0, 2, 3, 5, 7, 9)
- Luo, Zhong-Rong: String Quartet, No.3, row 1, [0, 2, 4, 7, 5, 10, 8, 1, 6, 3, 9, 11], pc set (0, 2, 3, 5, 7, 9)
- Luo, Zhong-Rong: String Quartet, No.3, row 3, [0, 2, 7, 9, 11, 1, 3, 6, 10, 4, 5, 8], pc set (0, 1, 2, 3, 5, 7)
- Luo, Zhong-Rong: Three Piano Pieces, "Arabeque", row 1, [0, 2, 5, 10, 6, 1, 3, 8, 11, 9, 7, 4], pc set (0, 1, 4, 5, 6, 8)
- Luo, Zhong-Rong: Three Piano Pieces, "Arabeque", row 2, [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 10, 5], pc set (0, 2, 4, 5, 7, 9)
- Lutyens, Elisabeth: Essence Of Our Happinesses, Op.69, mvt II, Part I, [0, 11, 1, 10, 2, 3, 8, 9, 5, 6, 4, 7], pc set (0, 1, 2, 3, 4, 5)
- Lutyens, Elisabeth: Five Little Pieces for Clarinet and Piano, [0, 8, 4, 1, 10, 2, 9, 3, 5, 6, 11, 7], pc set (0, 2, 3, 4, 6, 8)
- Lutyens, Elisabeth: Islands, Op.80, [0, 11, 7, 3, 8, 10, 9, 6, 4, 5, 1, 2], pc set (0, 1, 3, 4, 5, 8)
- Lutyens, Elisabeth: Motet (Excerota Tractati Logico-Philosophici), Op.27, [0, 11, 3, 7, 8, 4, 2, 6, 5, 1, 9, 10], pc set (0, 1, 4, 5, 8, 9)
- Lutyens, Elisabeth: Présages, Op.53, [0, 1, 11, 2, 10, 8, 5, 3, 4, 7, 9, 6], pc set (0, 1, 2, 3, 4, 6)
- Lutyens, Elisabeth: Quincunx, Op.44, [0, 6, 11, 1, 5, 2, 7, 3, 4, 9, 10, 8], pc set (0, 1, 2, 3, 6, 7)
- Lutyens, Elisabeth: The Numbered, Altered Primary Row (swap pitches 2 and 3), [0, 11, 10, 1, 2, 9, 3, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Lutyens, Elisabeth: The Numbered, Primary Row, [0, 10, 11, 1, 2, 9, 3, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Maderna, Bruno: Improvvisazione N. 1, [0, 11, 4, 8, 3, 2, 7, 6, 1, 5, 10, 9], pc set (0, 1, 2, 4, 5, 8)
- Maderna, Bruno: Musica su due dimensioni, [0, 2, 9, 4, 6, 11, 8, 10, 1, 3, 5, 7], pc set (0, 2, 3, 5, 7, 9)
- Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], pc set (0, 1, 4, 5, 8, 9)
- Mamlok, Ursula: Panta Rhei, [0, 7, 4, 11, 8, 3, 10, 9, 6, 2, 5, 1], pc set (0, 1, 4, 5, 8, 9)
- Mamlok, Ursula: Panta Rhei, secondary row (mvt 4, Piano), [0, 11, 8, 3, 4, 7, 2, 1, 6, 9, 10, 5], pc set (0, 1, 4, 5, 8, 9)
- Martin, Frank: Petite complainte, [0, 11, 10, 6, 2, 4, 5, 9, 8, 7, 3, 1], pc set (0, 1, 2, 4, 6, 8)
- Martino, Donald: Fantasy Variations, [0, 3, 1, 10, 2, 8, 11, 5, 6, 9, 7, 4], pc set (0, 1, 2, 3, 5, 7)
- Martino, Donald: Notturno (Row B), [0, 7, 11, 10, 9, 8, 2, 1, 6, 3, 4, 5], pc set (0, 1, 2, 3, 4, 5)
- Matthias, Hauer Josef: Zwölftonspiel für Holzbläser, Streicher und Klavier. April 1951, [0, 4, 9, 11, 7, 2, 3, 6, 8, 10, 5, 1], pc set (0, 2, 4, 5, 7, 9)
- Matthias, Josef: Salambo, Op.60, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], pc set (0, 2, 3, 4, 6, 8)
- Messiaen, Olivier: Livre d'orgue, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Messiaen, Olivier: Mode de valeurs et d'intensités, Series 1, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], pc set (0, 1, 2, 3, 6, 7)
- Mittendorfer, Josef: aleatoric row, [0, 2, 7, 1, 8, 6, 10, 5, 4, 11, 3, 9], pc set (0, 1, 2, 6, 7, 8)
- Moevs, Robert: Musica da Camera, [0, 1, 11, 3, 4, 2, 9, 10, 8, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Morris, Robert: By Far, [0, 1, 4, 11, 3, 2, 6, 7, 5, 10, 8, 9], pc set (0, 1, 2, 3, 4, 5)
- Morris, Robert: Canonic Variations, [0, 3, 11, 1, 4, 8, 5, 6, 9, 10, 2, 7], pc set (0, 1, 3, 4, 5, 8)
- Morris, Robert: Clash, [0, 3, 11, 10, 8, 1, 7, 9, 2, 6, 4, 5], pc set (0, 2, 3, 4, 5, 7)
- Morris, Robert: Concerto for Piano and Strings, [0, 1, 6, 11, 7, 5, 10, 8, 4, 3, 2, 9], pc set (0, 1, 2, 6, 7, 8)
- Morris, Robert: Cuts, [0, 10, 11, 7, 3, 8, 6, 9, 4, 5, 1, 2], pc set (0, 1, 3, 4, 5, 8)
- Morris, Robert: Entanglements, [0, 3, 10, 5, 11, 6, 1, 7, 9, 2, 8, 4], pc set (0, 1, 2, 5, 7, 8)
- Morris, Robert: Exchanges, [0, 4, 3, 1, 9, 5, 8, 6, 2, 10, 11, 7], pc set (0, 1, 2, 4, 5, 8)
- Morris, Robert: Knot Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
- Morris, Robert: Not Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
- Morris, Robert: Pari Passu, row 1, [0, 6, 10, 11, 2, 3, 9, 1, 7, 8, 4, 5], pc set (0, 1, 2, 4, 5, 8)
- Morris, Robert: Refrains, [0, 3, 4, 2, 6, 10, 1, 8, 11, 7, 5, 9], pc set (0, 2, 3, 4, 6, 8)
- Morris, Robert: Roundelay, row 1, [0, 7, 4, 11, 9, 2, 6, 3, 10, 5, 8, 1], pc set (0, 2, 4, 5, 7, 9)
- Morris, Robert: Roundelay, row 2, [0, 5, 9, 7, 8, 10, 4, 11, 1, 6, 2, 3], pc set (0, 2, 3, 4, 5, 7)
- Morris, Robert: Roundelay, row 3, [0, 10, 9, 3, 4, 6, 8, 11, 2, 7, 1, 5], pc set (0, 1, 3, 6, 7, 9)
- Morris, Robert: Roundelay, row 4, [0, 3, 11, 10, 7, 2, 6, 9, 5, 4, 1, 8], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 3-8-11-9-7-4-
- Morris, Robert: Roundelay, row 5, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Morris, Robert: Roundelay, row 6, [0, 10, 5, 11, 4, 6, 8, 7, 2, 3, 9, 1], pc set (0, 1, 2, 6, 7, 8)
- Morris, Robert: Something New, [0, 9, 4, 8, 11, 7, 3, 6, 10, 5, 2, 1], pc set (0, 1, 3, 4, 5, 8)
- Morris, Robert: Strange Flowers, Occasional Storms, [0, 1, 8, 3, 5, 4, 10, 6, 9, 7, 11, 2], pc set (0, 1, 3, 4, 5, 8)
- Morris, Robert: Terrane, [0, 11, 1, 3, 2, 5, 6, 4, 9, 7, 8, 10], pc set (0, 1, 2, 3, 4, 6)
- Morris, Robert: Three Musicians, [0, 9, 7, 6, 8, 1, 11, 2, 4, 5, 3, 10], pc set (0, 1, 2, 3, 6, 7)
- Morris, Robert: Tournament for 12 trombones, [0, 7, 6, 4, 11, 8, 5, 9, 1, 3, 2, 10], pc set (0, 1, 4, 5, 6, 8)
- Morris, Robert: Tête‐à‐Tête, [0, 3, 11, 10, 1, 8, 2, 6, 9, 5, 4, 7], pc set (0, 2, 3, 4, 5, 7)
- Morris, Robert: …gradually…, [0, 1, 8, 3, 5, 4, 6, 7, 9, 11, 2, 10], pc set (0, 1, 3, 4, 5, 8)
- Nichols, Jeff: ...its darkening opposite, or Set Portrait in a Convex Mirror, [0, 4, 8, 7, 11, 2, 3, 6, 1, 9, 10, 5], pc set (0, 1, 3, 5, 8, 9)
- Nono, Luigi: Canti per tredeci, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Nono, Luigi: Composizione per orchestra, No.1, [0, 1, 7, 6, 2, 8, 4, 3, 5, 10, 11, 9], pc set (0, 1, 2, 6, 7, 8)
- Nono, Luigi: Cori di Didone, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Nono, Luigi: Il canto sospeso, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Nono, Luigi: Incontri, [0, 2, 3, 8, 9, 6, 4, 5, 7, 11, 1, 10], pc set (0, 1, 3, 6, 7, 9)
- Nono, Luigi: Intolleranza, Soprano 1, [0, 3, 4, 7, 8, 5, 6, 9, 10, 1, 2, 11], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 3-1-3-1-9-1-
- Nono, Luigi: La terra e la compagna (sketch), Series 1, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Nono, Luigi: La terra e la compagna (sketch), Series 2, [0, 6, 1, 7, 11, 5, 2, 8, 10, 4, 3, 9], pc set (0, 1, 2, 6, 7, 8)
- Nono, Luigi: La terra e la compagna (sketch), Series 3, [0, 9, 6, 3, 1, 4, 7, 10, 11, 8, 5, 2], pc set (0, 1, 3, 4, 6, 9)
- Nono, Luigi: La terra e la compagna (sketch), Series 5, [0, 7, 2, 4, 9, 10, 5, 1, 6, 11, 8, 3], pc set (0, 2, 3, 5, 7, 9)
- Nono, Luigi: La terra e la compagna (sketch), Series 7, [0, 5, 3, 10, 7, 1, 8, 9, 2, 6, 11, 4], pc set (0, 2, 3, 5, 7, 9)
- Nono, Luigi: La terra e la compagna (sketch), Series 8, [0, 4, 5, 11, 3, 6, 10, 2, 7, 9, 1, 8], pc set (0, 1, 2, 3, 6, 7)
- Nono, Luigi: Variazioni canoniche sulla serie dell'Op.41 di Arnold Schönberg, [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], pc set (0, 1, 4, 5, 8, 9)
- Papaioannou, Yannis: Songs of the Lake, No.1, [0, 8, 5, 7, 6, 11, 2, 10, 1, 3, 9, 4], pc set (0, 1, 2, 3, 6, 7)
- Papaioannou, Yannis: Songs of the Lake, No.2, [0, 7, 4, 6, 5, 1, 9, 2, 8, 10, 3, 11], pc set (0, 1, 2, 3, 6, 7)
- Papaioannou, Yannis: Songs of the Lake, No.4, [0, 5, 11, 9, 6, 10, 7, 2, 3, 1, 4, 8], pc set (0, 1, 2, 3, 6, 7)
- Papaioannou, Yannis: Suite, "XP", [0, 4, 2, 1, 6, 8, 3, 9, 7, 10, 5, 11], pc set (0, 1, 2, 4, 6, 8)
- Papaioannou, Yannis: Suite, "YP", [0, 10, 9, 8, 1, 4, 5, 7, 3, 6, 2, 11], pc set (0, 1, 2, 4, 5, 8)
- Pentland, Barbara: String Quartet, No.3, [0, 11, 3, 6, 5, 9, 10, 8, 1, 2, 7, 4], pc set (0, 1, 3, 6, 7, 9)
- Perle, George: First string quartet, [0, 1, 3, 6, 10, 9, 8, 7, 4, 5, 11, 2], pc set (0, 1, 3, 4, 6, 9)
- Pousseur, Henri: Trois Chants Sacrés, [0, 10, 11, 4, 1, 5, 9, 6, 3, 7, 2, 8], pc set (0, 1, 2, 3, 6, 7)
- Preßl, Hermann Markus: 'A 5' für Bassklarinette, Vibraphon und drei Bratschen, [0, 6, 5, 8, 10, 7, 3, 2, 4, 9, 1, 11], pc set (0, 1, 2, 3, 5, 7)
- Preßl, Hermann Markus: Finstersonnen, [0, 3, 9, 6, 11, 5, 1, 2, 7, 8, 10, 4], pc set (0, 1, 3, 6, 7, 9)
- Preßl, Hermann Markus: N. N. 50; 'Die Zeremonie des Abschieds', [0, 9, 4, 2, 7, 5, 8, 1, 6, 3, 11, 10], pc set (0, 2, 4, 5, 7, 9)
- Preßl, Herrmann Markus: Fier Fafeln für Fier Fiolen, [0, 7, 8, 11, 9, 4, 6, 10, 1, 5, 3, 2], pc set (0, 1, 3, 4, 5, 8)
- Pärt, Arvo: Diagrams, [0, 11, 2, 1, 3, 4, 9, 10, 7, 8, 6, 5], pc set (0, 1, 2, 3, 4, 5)
- Pärt, Arvo: Perpetuum Mobile, [0, 11, 10, 5, 6, 9, 7, 1, 2, 8, 3, 4], pc set (0, 1, 2, 3, 6, 7)
- Pärt, Arvo: Symphony, No.1, [0, 1, 2, 7, 6, 3, 5, 11, 10, 4, 9, 8], pc set (0, 1, 2, 3, 6, 7)
- Reynolds, Roger: Ambages, [0, 1, 4, 5, 7, 6, 8, 9, 10, 11, 2, 3], pc set (0, 1, 2, 3, 6, 7)
- Riegebauer, Sigrid: Toccata, [0, 3, 1, 2, 11, 10, 4, 5, 8, 7, 9, 6], pc set (0, 1, 2, 3, 4, 5)
- Rochberg, George: Sonata-Fantasia, [0, 11, 10, 4, 5, 6, 9, 8, 7, 1, 2, 3], pc set (0, 1, 2, 6, 7, 8), self-rotational interval pattern 11-11-6-1-1-3-
- Rochberg, George: String Quartet, No.2 with soprano solo, [0, 11, 6, 5, 1, 2, 8, 7, 3, 4, 9, 10], pc set (0, 1, 2, 3, 6, 7)
- Rochberg, George: Symphony, No.2, [0, 8, 1, 4, 9, 5, 6, 2, 3, 10, 11, 7], pc set (0, 1, 4, 5, 8, 9)
- Sande, Henrik: 'Volkslied' für zwei Singstimmen und Klavier. 24. 12. 2015, [0, 2, 4, 5, 7, 9, 10, 8, 6, 3, 1, 11], pc set (0, 2, 4, 5, 7, 9)
- Santoro, Claudio: Peças para Piano, [0, 11, 4, 5, 1, 9, 2, 3, 7, 8, 6, 10], pc set (0, 1, 4, 5, 6, 8)
- Santoro, Claudio: Preludes 18-20, [0, 9, 1, 3, 2, 8, 10, 4, 6, 5, 7, 11], pc set (0, 1, 2, 3, 6, 7)
- Santoro, Claudio: Six Piano Pieces, [0, 10, 4, 1, 11, 2, 5, 6, 3, 9, 7, 8], pc set (0, 1, 2, 3, 4, 6)
- Santoro, Claudio: Sonata, No.1, [0, 10, 3, 8, 11, 1, 2, 9, 7, 4, 5, 6], pc set (0, 2, 3, 4, 5, 7)
- Schnittke, Alfred: Concerto, No.2 for Violin and Chamber Orchestra, [0, 11, 1, 2, 10, 3, 4, 9, 5, 6, 8, 7], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Concerto Grosso, No.1, mvt 2, [0, 11, 2, 1, 8, 7, 10, 9, 6, 5, 4, 3], pc set (0, 1, 2, 3, 6, 7)
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 6, [0, 11, 2, 1, 9, 10, 7, 8, 4, 3, 6, 5], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 7, [0, 3, 11, 9, 10, 1, 4, 2, 7, 8, 5, 6], pc set (0, 1, 2, 3, 4, 6)
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 8, [0, 11, 7, 9, 10, 8, 6, 5, 3, 4, 1, 2], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 1, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7], pc set (0, 1, 3, 5, 8, 9)
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Concerto Grosso, No.3, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7], pc set (0, 1, 3, 5, 8, 9)
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 1, [0, 3, 6, 10, 2, 11, 8, 5, 9, 1, 4, 7], pc set (0, 1, 2, 4, 5, 8)
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 2, [0, 3, 7, 10, 2, 11, 6, 9, 1, 4, 8, 5], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 3-4-3-4-9-7-
- Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, [0, 2, 3, 1, 4, 5, 11, 10, 7, 9, 8, 6], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.1, [0, 2, 1, 10, 3, 11, 5, 9, 4, 7, 8, 6], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.4, [0, 11, 10, 1, 3, 2, 4, 9, 8, 6, 5, 7], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.4, mvt 2, m.40, [0, 5, 10, 3, 2, 7, 8, 1, 6, 11, 4, 9], pc set (0, 2, 4, 5, 7, 9)
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.122, [0, 1, 11, 2, 10, 3, 4, 9, 8, 7, 6, 5], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-10-1-10-11-11-
- Schnittke, Alfred: Symphony, No.7, mvt 3, row X, [0, 1, 10, 11, 2, 3, 9, 4, 5, 8, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], pc set (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Viola Concerto, [0, 11, 5, 2, 1, 6, 3, 8, 7, 4, 10, 9], pc set (0, 1, 2, 3, 6, 7)
- Schnittke, Alfred: Violin Sonata 2, [0, 10, 11, 9, 6, 8, 7, 5, 4, 1, 2, 3], pc set (0, 1, 2, 3, 4, 6)
- Schoenberg, Arnold: A Survivor From Warsaw, Op.46, [0, 1, 6, 2, 10, 9, 5, 4, 11, 3, 7, 8], pc set (0, 1, 2, 4, 5, 8)
- Schoenberg, Arnold: A Survivor From Warsaw, Op.46 (alternative), [0, 1, 6, 2, 10, 9, 4, 7, 3, 8, 11, 5], pc set (0, 1, 2, 4, 5, 8)
- Schoenberg, Arnold: Accompaniment to a Film Scene, Op.34, [0, 3, 11, 1, 10, 9, 6, 8, 7, 5, 2, 4], pc set (0, 1, 2, 3, 4, 6)
- Schoenberg, Arnold: Fantasy for Piano Four Hands, II (fragment), [0, 3, 6, 1, 7, 8, 2, 5, 11, 4, 10, 9], pc set (0, 1, 2, 5, 7, 8)
- Schoenberg, Arnold: Fantasy for Piano Four Hands, I, [0, 4, 2, 5, 3, 7, 11, 10, 1, 8, 9, 6], pc set (0, 2, 3, 4, 5, 7)
- Schoenberg, Arnold: Fantasy for Violin and Piano, Op.47, [0, 11, 3, 1, 7, 9, 5, 6, 2, 4, 10, 8], pc set (0, 2, 3, 4, 6, 8)
- Schoenberg, Arnold: Five Piano Pieces, Op.23, No.5, [0, 8, 10, 6, 7, 5, 9, 1, 3, 2, 11, 4], pc set (0, 1, 2, 3, 5, 7)
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.1, Op.27, No.1, [0, 11, 8, 2, 1, 7, 9, 10, 4, 3, 5, 6], pc set (0, 1, 2, 3, 6, 7)
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.2, Op.27, No.2, [0, 11, 4, 10, 2, 8, 3, 7, 6, 5, 9, 1], pc set (0, 2, 3, 4, 6, 8)
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.3, Op.27, No.3, [0, 11, 7, 9, 10, 8, 4, 5, 1, 3, 2, 6], pc set (0, 1, 2, 3, 4, 5)
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.4, Op.27, No.4, [0, 2, 9, 5, 7, 3, 10, 11, 1, 8, 4, 6], pc set (0, 2, 3, 5, 7, 9)
- Schoenberg, Arnold: Modern Psalms, The First Psalm, Op.50c, [0, 11, 8, 4, 7, 3, 1, 5, 2, 6, 9, 10], pc set (0, 1, 4, 5, 8, 9)
- Schoenberg, Arnold: Moses und Aron, [0, 1, 7, 5, 6, 4, 10, 8, 9, 11, 2, 3], pc set (0, 1, 2, 3, 6, 7)
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10, 9], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 11-4-1-4-11-7-
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2), [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], pc set (0, 1, 4, 5, 8, 9)
- Schoenberg, Arnold: Piano Concerto, Op.42, [0, 7, 11, 2, 1, 9, 3, 5, 10, 6, 8, 4], pc set (0, 1, 2, 3, 5, 7)
- Schoenberg, Arnold: Prelude To A Suite From "Genesis", Op.44, [0, 8, 4, 7, 6, 2, 1, 10, 3, 5, 11, 9], pc set (0, 1, 2, 4, 6, 8)
- Schoenberg, Arnold: Psalm 130, De Profundis (unfinished), Op.50B, [0, 6, 5, 1, 11, 7, 4, 8, 9, 3, 2, 10], pc set (0, 1, 2, 6, 7, 8)
- Schoenberg, Arnold: Serenade, mvt 4, "Sonett", Op.24, [0, 10, 11, 7, 8, 9, 4, 2, 5, 1, 3, 6], pc set (0, 1, 2, 3, 4, 5)
- Schoenberg, Arnold: Serenade, mvt 5, "Tanzscene", Op.24, [0, 1, 3, 6, 7, 9, 8, 10, 11, 2, 4, 5], pc set (0, 1, 3, 6, 7, 9)
- Schoenberg, Arnold: Six Pieces for Male Chorus, No.1, Op.35, [0, 9, 1, 3, 2, 11, 6, 8, 7, 4, 10, 5], pc set (0, 1, 2, 3, 4, 6)
- Schoenberg, Arnold: Six Pieces for Male Chorus, No.2, Op.35, [0, 3, 1, 7, 6, 8, 11, 5, 4, 9, 10, 2], pc set (0, 1, 2, 5, 7, 8)
- Schoenberg, Arnold: Six Pieces for Male Chorus, No.5, Op.35, [0, 6, 9, 1, 2, 10, 7, 3, 11, 5, 4, 8], pc set (0, 1, 2, 4, 5, 8)
- Schoenberg, Arnold: Sonata For Organ, [0, 6, 10, 2, 8, 1, 7, 5, 9, 4, 11, 3], pc set (0, 1, 2, 4, 6, 8)
- Schoenberg, Arnold: String Quartet, No.4, Op.37, [0, 11, 7, 8, 3, 1, 2, 10, 6, 5, 4, 9], pc set (0, 1, 4, 5, 6, 8)
- Schoenberg, Arnold: String Trio, Op.45, [0, 8, 1, 7, 2, 11, 9, 6, 4, 5, 3, 10], pc set (0, 1, 2, 3, 6, 7)
- Schoenberg, Arnold: Suite, Op.29, [0, 4, 3, 7, 11, 8, 9, 6, 5, 1, 2, 10], pc set (0, 1, 4, 5, 8, 9)
- Schoenberg, Arnold: Suite for Piano, Op.25, [0, 1, 3, 9, 2, 11, 4, 10, 7, 8, 5, 6], pc set (0, 1, 2, 3, 4, 6)
- Schoenberg, Arnold: Three Satires for Mixed Chorus, No.3, Op.28, No.3, [0, 1, 11, 3, 9, 5, 2, 4, 10, 6, 8, 7], pc set (0, 2, 3, 4, 6, 8)
- Schoenberg, Arnold: Three Songs, No.2, "Tot", Op.48, [0, 1, 7, 11, 8, 2, 6, 5, 10, 9, 3, 4], pc set (0, 1, 2, 3, 6, 7)
- Schoenberg, Arnold: Three Songs, No.3, "Madchenlied", Op.48, [0, 6, 8, 10, 2, 4, 9, 5, 3, 11, 7, 1], pc set (0, 2, 4, 6, 8, 10)
- Schoenberg, Arnold: Three Times a Thousand Years, Op.50a, [0, 2, 11, 9, 10, 4, 3, 7, 5, 6, 8, 1], pc set (0, 1, 2, 3, 5, 7)
- Schoenberg, Arnold: Two Piano Pieces, No.1, Op.33a, [0, 7, 2, 1, 11, 8, 3, 5, 9, 10, 4, 6], pc set (0, 1, 2, 3, 6, 7)
- Schoenberg, Arnold: Two Piano Pieces, No.2, Op.33b, [0, 2, 6, 4, 10, 9, 7, 11, 8, 5, 1, 3], pc set (0, 1, 3, 5, 7, 9)
- Schoenberg, Arnold: Variations for Orchestra, Op.31, [0, 6, 8, 5, 7, 11, 4, 3, 9, 10, 1, 2], pc set (0, 1, 2, 3, 6, 7)
- Schoenberg, Arnold: Violin Concerto, Op.36, [0, 1, 6, 2, 7, 9, 3, 4, 10, 11, 5, 8], pc set (0, 1, 2, 5, 7, 8)
- Schoenberg, Arnold: Violin Phantasy, Op.47, [0, 11, 3, 1, 7, 9, 6, 2, 10, 5, 8, 4], pc set (0, 2, 3, 4, 6, 8)
- Schoenberg, Arnold: Von Heute Auf Morgen, Op.32, [0, 1, 7, 11, 9, 3, 6, 5, 2, 10, 8, 4], pc set (0, 2, 3, 4, 6, 8)
- Schoenberg, Arnold: Wind Quintet, Op.26, [0, 4, 6, 8, 10, 9, 7, 11, 1, 3, 5, 2], pc set (0, 2, 3, 4, 6, 8)
- Schuller, Gunther: Transformation, [0, 2, 4, 3, 8, 11, 9, 6, 5, 10, 7, 1], pc set (0, 1, 2, 4, 5, 8)
- Schwantner, Joseph: ...and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 11-9-11-9-11-11-
- Schwantner, Joseph: Elixir (Consortium VIII), [0, 8, 4, 3, 7, 11, 10, 6, 9, 5, 1, 2], pc set (0, 1, 4, 5, 8, 9)
- Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 1-3-1-3-1-9-
- Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], pc set (0, 1, 2, 3, 4, 5)
- Schwantner, Joseph: In Aeternum (Principal Row), [0, 4, 11, 6, 10, 5, 1, 9, 2, 7, 3, 8], pc set (0, 1, 2, 6, 7, 8)
- Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9], pc set (0, 1, 2, 6, 7, 8)
- Schwantner, Joseph: Modus Caelestis (m. 39), [0, 6, 11, 10, 5, 9, 4, 8, 3, 2, 7, 1], pc set (0, 1, 2, 3, 6, 7)
- Schwantner, Joseph: Wild Angels of the Open Hills, 2, "Angels of the Shadowed Ancient Land," m. 21, [0, 8, 9, 11, 3, 7, 6, 5, 2, 4, 10, 1], pc set (0, 1, 2, 4, 5, 8)
- Searle, Humphrey: Toccata alla Passacaglia, Op.31, [0, 5, 6, 1, 10, 7, 9, 8, 3, 2, 4, 11], pc set (0, 1, 2, 5, 7, 8)
- Seiber, Mátyás: Concert Piece for Violin and Piano, [0, 1, 7, 6, 11, 10, 4, 5, 9, 8, 2, 3], pc set (0, 1, 2, 3, 6, 7)
- Seiber, Mátyás: Sonata for Violin and Piano, [0, 1, 11, 10, 7, 6, 8, 9, 4, 3, 5, 2], pc set (0, 1, 2, 3, 6, 7)
- Seiber, Mátyás: String Quartet, No.2, [0, 2, 3, 1, 4, 11, 5, 10, 7, 9, 8, 6], pc set (0, 1, 2, 3, 4, 5)
- Seiber, Mátyás: Ulysses, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4, 5, 8, 9)
- Sengstschmid, Johann: Meditation für Orgel, Op.43a, [0, 6, 3, 1, 10, 8, 5, 2, 11, 9, 7, 4], pc set (0, 2, 3, 5, 7, 9)
- Sessions, Roger: Piano Sonata, No.3, mvt 2, [0, 1, 5, 4, 8, 2, 11, 10, 6, 7, 3, 9], pc set (0, 1, 2, 4, 5, 8)
- Sessions, Roger: When Lilacs Last in the Dooryard Bloom'd, [0, 2, 4, 10, 5, 8, 9, 1, 11, 7, 6, 3], pc set (0, 1, 3, 5, 7, 9)
- Shapey, Ralph: String Quartet, No.9, [0, 8, 9, 3, 5, 1, 2, 6, 4, 10, 11, 7], pc set (0, 1, 3, 5, 8, 9)
- Shostakovich, Dmitri: Symphony, No.14, mov. I, [0, 11, 9, 4, 3, 10, 8, 7, 5, 6, 1, 2], pc set (0, 1, 2, 3, 6, 7)
- Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 4-4-3-4-4-11-
- Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7], pc set (0, 1, 2, 5, 7, 8)
- Slonimsky, Nicholas: No. 1223a Sixths (Twelve-Tone Patterns), [0, 8, 4, 1, 5, 9, 6, 2, 10, 7, 11, 3], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 8-8-9-4-4-9-
- Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1225a Sixths (Twelve-Tone Patterns), [0, 8, 4, 7, 11, 3, 6, 2, 10, 1, 5, 9], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 8-8-3-4-4-3-
- Slonimsky, Nicholas: No. 1226a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 8, 2, 4, 6, 1, 11, 9, 3, 5, 7], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 10-10-6-2-2-7-
- Slonimsky, Nicholas: No. 1227a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 4, 2, 8, 6, 1, 11, 9, 7, 5, 3], pc set (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1228a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 2, 4, 8, 6, 11, 1, 5, 3, 7, 9], pc set (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3, 4, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1230a Major Sevenths (Twelve-Tone Patterns), [0, 11, 3, 4, 8, 7, 1, 2, 6, 5, 9, 10], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1233a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1236a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 9, 2, 4, 7, 5, 6, 8, 3, 1, 10], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1237a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 11-10-10-7-2-2-
- Slonimsky, Nicholas: No. 1238a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 9, 7, 5, 3, 2, 4, 6, 8, 1, 10, 11], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1239a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 2, 9, 4, 7, 6, 5, 8, 3, 10, 1], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 11-3-7-7-3-11-
- Slonimsky, Nicholas: No. 1240a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 9, 2, 4, 7, 5, 3, 6, 8, 1, 10], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1241a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals), [0, 9, 6, 3, 11, 5, 2, 8, 7, 10, 1, 4], pc set (0, 1, 3, 6, 7, 9)
- Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals), [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1244a Crossing Sixths (Crossing Intervals), [0, 3, 8, 7, 4, 11, 1, 2, 10, 5, 6, 9], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1245a Crossing Fifths (Crossing Intervals), [0, 5, 7, 10, 2, 3, 9, 8, 4, 1, 11, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1246a Crossing Fourths (Crossing Intervals), [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1247a Crossing Thirds (Crossing Intervals), [0, 3, 4, 11, 7, 8, 10, 5, 2, 1, 6, 9], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1248a Crossing Thirds (Crossing Intervals), [0, 5, 4, 1, 8, 9, 11, 6, 3, 2, 7, 10], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1250a Crossing Seconds (Crossing Intervals), [0, 11, 2, 9, 4, 7, 6, 5, 8, 3, 10, 1], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 11-3-7-7-3-11-
- Slonimsky, Nicholas: No. 1252a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 2, 6, 8, 11, 4], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1252b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 10, 6, 2, 11, 7, 4, 1, 9], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1254b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 1, 10, 6, 4, 11, 7, 5, 2, 9], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3], pc set (0, 1, 3, 6, 7, 9)
- Slonimsky, Nicholas: No. 1255b [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 9, 6, 5, 1, 10, 7, 4, 11], pc set (0, 1, 3, 6, 7, 9)
- Slonimsky, Nicholas: No. 1256a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 11, 4, 6, 9, 1], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1256b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 4, 2, 11, 7, 5, 1, 8, 6, 3, 10], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1257a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 1, 6, 9, 2, 5], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1257b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 5, 2, 10, 6, 1, 9], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1258a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 1, 5, 8, 11, 4], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1258b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 2, 10, 6, 4, 1, 9], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1259a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 1, 5, 7, 10, 3], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1259b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 2, 10, 7, 5, 1, 9, 6, 3, 11], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1260a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 1, 5, 8, 11, 3], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1260b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 10, 6, 5, 1, 9, 7, 4, 11], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1263a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 1, 4, 8, 11, 5], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1263b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 6, 2, 9, 4, 1, 10], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1265b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 3, 1, 10, 6, 4, 11, 7, 5, 2, 8], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1266b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 3, 2, 11, 6, 5, 1, 8, 7, 4, 10], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1267a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 4, 8, 11, 5, 6, 9, 2], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1267b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 4, 1, 10, 7, 5, 2, 8, 6, 3, 11], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1270a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 11, 3, 5, 9, 1], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 4-4-2-4-4-1-
- Slonimsky, Nicholas: No. 1270b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 2, 10, 6, 3, 11, 7, 5, 1, 9], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 8-8-10-8-8-9-
- Slonimsky, Nicholas: No. 1273a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 6, 2, 11, 8, 4], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1273b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 1, 2, 6, 9, 8, 4, 11], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1275a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 9, 6, 1, 11, 8, 3], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1275b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 2, 1, 6, 9, 8, 3, 11], pc set (0, 2, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1276a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 5, 2, 11, 8, 3], pc set (0, 1, 3, 6, 7, 9)
- Slonimsky, Nicholas: No. 1276b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 1, 2, 5, 9, 8, 3, 11], pc set (0, 1, 3, 6, 7, 9)
- Slonimsky, Nicholas: No. 1277a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 4, 11, 9, 6, 1], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1277b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 2, 4, 8, 11, 9, 6, 1], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1278a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 1, 9, 5, 2], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1278b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 6, 10, 1, 9, 5, 2], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1279a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 5, 1, 11, 8, 4], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1279b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 5, 9, 8, 4, 11], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1280a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 5, 1, 10, 7, 3], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1280b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 6, 2, 5, 9, 1, 10, 7, 3], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1281a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 5, 1, 11, 8, 3], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1281b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 2, 1, 5, 9, 8, 3, 11], pc set (0, 1, 3, 5, 7, 9)
- Slonimsky, Nicholas: No. 1284a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 4, 1, 11, 8, 5], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1284b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 4, 9, 8, 5, 11], pc set (0, 1, 3, 5, 8, 9)
- Slonimsky, Nicholas: No. 1286a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 2, 10, 8, 5, 11], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1286b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 4, 1, 10, 2, 7, 8, 5, 11], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1287a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 4, 11, 10, 7, 1], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1287b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 5, 2, 11, 4, 8, 7, 1, 10], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1288a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 4, 8, 5, 11, 9, 6, 2], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1288b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 4, 1, 11, 5, 8, 6, 2, 9], pc set (0, 1, 3, 4, 6, 9)
- Slonimsky, Nicholas: No. 1290a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 2, 10, 7, 3, 11], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1290b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 5, 1, 10, 2, 6, 7, 3, 11], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 4-4-1-8-8-9-
- Slonimsky, Nicholas: No. 1291a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 3, 11, 9, 5, 1], pc set (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1291b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 6, 2, 11, 3, 7, 9, 5, 1], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 4-4-2-8-8-9-
- Slonimsky, Nicholas: No. 1292a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 2, 1, 9, 5], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1292b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 2, 6, 10, 9, 5, 1], pc set (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 2-2-1-2-2-9-
- Slonimsky, Nicholas: No. 1293b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 3, 1, 11, 10, 8, 6, 9, 7, 5, 4, 2], pc set (0, 2, 3, 4, 5, 7), self-rotational interval pattern 3-10-10-11-10-10-
- Slonimsky, Nicholas: No. 1294a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 9, 4, 7, 5, 2, 6, 3, 10, 1, 11, 8], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 9-7-3-10-9-4-
- Slonimsky, Nicholas: No. 1294b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 8, 11, 1, 10, 3, 6, 2, 5, 7, 4, 9], pc set (0, 2, 3, 4, 5, 7), self-rotational interval pattern 8-3-2-9-5-3-
- Slonimsky, Nicholas: No. 1295a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 2, 5, 4, 3, 1, 6, 8, 11, 10, 9, 7], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 2-3-11-11-10-5-
- Slonimsky, Nicholas: No. 1295b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 7, 9, 10, 11, 8, 6, 1, 3, 4, 5, 2], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 7-2-1-1-9-10-
- Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 7-1-7-1-7-7-
- Slonimsky, Nicholas: No. 1296b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 5, 10, 9, 2, 1, 6, 11, 4, 3, 8, 7], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 5-5-11-5-11-5-
- Slonimsky, Nicholas: No. 1297a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 11-10-10-7-2-2-
- Slonimsky, Nicholas: No. 1297b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 10, 8, 1, 3, 5, 6, 4, 2, 7, 9, 11], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 10-10-5-2-2-1-
- Slonimsky, Nicholas: No. 1298a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-2-9-4-7-9-
- Slonimsky, Nicholas: No. 1298b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 3-5-8-3-10-1-
- Slonimsky, Nicholas: No. 1299a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 9, 2, 7, 4, 5, 6, 3, 8, 1, 10, 11], pc set (0, 2, 4, 5, 7, 9), self-rotational interval pattern 9-5-5-9-1-1-
- Slonimsky, Nicholas: No. 1299b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 10, 1, 8, 3, 6, 5, 4, 7, 2, 9], pc set (0, 2, 3, 4, 5, 7), self-rotational interval pattern 11-11-3-7-7-3-
- Slonimsky, Nicholas: No. 1300a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-2-9-4-7-9-
- Slonimsky, Nicholas: No. 1300b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11], pc set (0, 1, 3, 4, 5, 8), self-rotational interval pattern 3-5-8-3-10-1-
- Slonimsky, Nicholas: No. 1301 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 8, 3, 5, 11, 9, 2, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1303 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 2, 3, 7, 10, 5, 11, 4, 1, 9, 8, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1304 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Triad), [0, 3, 7, 8, 10, 5, 11, 4, 2, 1, 9, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1305 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Sixth-Chord), [0, 3, 8, 10, 11, 7, 1, 5, 4, 2, 9, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1306 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Triad), [0, 4, 7, 8, 3, 5, 11, 9, 2, 1, 10, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1307 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Sixth-Chord), [0, 4, 9, 8, 11, 1, 7, 5, 2, 3, 10, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1308 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Six-Four Chord), [0, 5, 8, 10, 9, 1, 7, 3, 4, 2, 11, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1309 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Six-Four Chord), [0, 5, 9, 8, 10, 1, 7, 4, 2, 3, 11, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1311 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 9, 10, 2, 5, 11, 8, 4, 3, 1, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1312 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 10, 2, 3, 5, 11, 9, 8, 4, 1, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1313 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 11, 2, 4, 3, 9, 10, 8, 5, 1, 6], pc set (0, 1, 3, 4, 5, 8)
- Slonimsky, Nicholas: No. 1314 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 2, 7, 4, 5, 9, 3, 11, 10, 1, 8, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1315 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 4, 5, 2, 7, 9, 3, 1, 8, 11, 10, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1316 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 7, 4, 5, 9, 2, 8, 3, 11, 10, 1, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions - With all Different Intervals. (Mother Chord), [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], pc set (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1318 Invertible Dodecaphonic Progressions - With all Different Intervals. (Grandmother Chord), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 639 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 5, 4, 3, 6, 7, 8, 11, 10, 9], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 1-1-3-11-11-3-
- Slonimsky, Nicholas: No. 640 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 10, 7, 8, 9, 6, 5, 4, 1, 2, 3], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-11-9-1-1-9-
- Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11], pc set (0, 1, 2, 3, 6, 7)
- Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 643 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1], pc set (0, 1, 2, 3, 4, 6)
- Slonimsky, Nicholas: No. 644 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1], pc set (0, 1, 2, 3, 4, 6)
- Slonimsky, Nicholas: No. 915 Miscellaneous Patterns (Diatessaron Progression; Equal Division of Five Octaves into Twelve Parts), [0, 10, 2, 8, 4, 6, 5, 3, 7, 1, 9, 11], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 10-4-6-8-2-11-
- Smith, Hale: Contours for Orchestra, [0, 5, 6, 4, 10, 11, 7, 2, 1, 3, 9, 8], pc set (0, 1, 2, 6, 7, 8)
- Spinner, Leopold: Chamber Symphony, Op.28, [0, 11, 10, 6, 4, 5, 2, 1, 3, 7, 8, 9], pc set (0, 1, 2, 6, 7, 8)
- Spinner, Leopold: Concert for Piano and Orchestra, Op.4, [0, 2, 1, 9, 11, 3, 4, 7, 5, 6, 10, 8], pc set (0, 1, 2, 3, 4, 6)
- Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11], pc set (0, 1, 2, 3, 4, 5)
- Spinner, Leopold: Fünf Lieder, Op.8, [0, 3, 4, 7, 8, 5, 11, 9, 10, 2, 6, 1], pc set (0, 1, 3, 4, 5, 8)
- Spinner, Leopold: Ich lieb' eine Blume for Four-part mixed Choir, [0, 11, 2, 4, 9, 7, 1, 3, 10, 8, 5, 6], pc set (0, 2, 4, 5, 7, 9)
- Spinner, Leopold: Ouverture for Orchestra, Op.5, [0, 11, 2, 10, 8, 1, 7, 5, 6, 9, 3, 4], pc set (0, 1, 2, 3, 4, 6)
- Spinner, Leopold: Quintet, Op.14, [0, 6, 4, 2, 8, 5, 1, 9, 10, 11, 7, 3], pc set (0, 2, 3, 4, 6, 8)
- Spinner, Leopold: Ricercata, Op.21, [0, 11, 8, 10, 2, 1, 4, 3, 7, 9, 6, 5], pc set (0, 1, 2, 3, 4, 6)
- Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6], pc set (0, 1, 2, 3, 4, 5)
- Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11], pc set (0, 1, 2, 3, 4, 6)
- Spinner, Leopold: Sonata for Violin and Piano, Op.1, [0, 7, 6, 1, 3, 8, 5, 10, 2, 9, 4, 11], pc set (0, 1, 2, 5, 7, 8)
- Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Spinner, Leopold: Sonatina for Wind Instruments, Op.23, [0, 9, 1, 5, 4, 2, 8, 10, 11, 7, 3, 6], pc set (0, 1, 3, 4, 5, 8)
- Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], pc set (0, 1, 4, 5, 8, 9)
- Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], pc set (0, 1, 2, 3, 6, 7)
- Spinner, Leopold: Trio for Clarinet, Cello and Piano, [0, 1, 7, 6, 5, 11, 10, 3, 4, 2, 9, 8], pc set (0, 1, 2, 6, 7, 8)
- Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3], pc set (0, 1, 3, 4, 6, 9)
- Spinner, Leopold: Variations for Violin and Piano, Op.19, [0, 8, 9, 1, 2, 4, 3, 5, 6, 10, 11, 7], pc set (0, 1, 4, 5, 6, 8)
- Spinner, Leopold: Zwei Lieder, Op.24, [0, 11, 1, 4, 3, 7, 5, 6, 9, 8, 10, 2], pc set (0, 1, 2, 4, 5, 8)
- Steinbauer, Othmar: Violinsonate, No.1, Op.15, [0, 5, 2, 10, 7, 3, 11, 8, 4, 1, 6, 9], pc set (0, 2, 4, 5, 7, 9)
- Stockhausen, Karlheinz: Choral, [0, 1, 10, 6, 8, 3, 5, 2, 4, 11, 9, 7], pc set (0, 2, 3, 5, 7, 9)
- Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Klavierstück IV row 3, [0, 7, 1, 10, 11, 9, 5, 8, 4, 3, 2, 6], pc set (0, 1, 2, 3, 4, 6)
- Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], pc set (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Kreuzspiel, [0, 10, 9, 11, 7, 2, 8, 1, 4, 6, 5, 3], pc set (0, 2, 3, 4, 5, 7)
- Stockhausen, Karlheinz: Licht, Eve formula, [0, 4, 3, 2, 5, 6, 10, 11, 9, 1, 7, 8], pc set (0, 1, 2, 3, 4, 6)
- Stockhausen, Karlheinz: Plus-Minus, [0, 1, 7, 9, 8, 6, 3, 10, 2, 5, 11, 4], pc set (0, 1, 2, 3, 6, 7)
- Stockhausen, Karlheinz: Tierkreis, Aries, [0, 3, 2, 9, 7, 8, 11, 6, 1, 5, 4, 10], pc set (0, 1, 2, 5, 7, 8)
- Stockhausen, Karlheinz: Tierkreis, Cancer, [0, 7, 11, 10, 9, 8, 3, 6, 4, 1, 5, 2], pc set (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Tierkreis, Sagittarius, [0, 6, 5, 2, 3, 4, 7, 8, 9, 10, 11, 1], pc set (0, 1, 2, 3, 4, 6)
- Stockhausen, Karlheinz: Tierkreis, Scorpio, [0, 4, 3, 11, 7, 8, 10, 9, 2, 5, 1, 6], pc set (0, 1, 4, 5, 8, 9)
- Stravinsky, Igor: A Sermon, a Narrative and a Prayer, [0, 1, 9, 11, 10, 7, 8, 3, 4, 6, 5, 2], pc set (0, 1, 2, 3, 4, 6)
- Stravinsky, Igor: Agon, "Pas de deux", "Four trios", [0, 1, 4, 3, 2, 5, 6, 9, 8, 11, 10, 7], pc set (0, 1, 2, 3, 4, 5)
- Stravinsky, Igor: Canticum Sacrum, II, [0, 11, 9, 6, 10, 8, 7, 5, 2, 4, 3, 1], pc set (0, 1, 2, 3, 4, 6)
- Stravinsky, Igor: Canticum Sacrum, II & IV, [0, 11, 1, 3, 4, 2, 7, 6, 9, 5, 8, 10], pc set (0, 1, 2, 3, 4, 5)
- Stravinsky, Igor: Elegy for J.F.K., [0, 6, 4, 2, 8, 9, 3, 1, 11, 10, 7, 5], pc set (0, 1, 3, 5, 7, 9)
- Stravinsky, Igor: Fanfare for a New Theater, [0, 11, 1, 3, 4, 2, 5, 7, 6, 8, 10, 9], pc set (0, 1, 2, 3, 4, 5)
- Stravinsky, Igor: Introitus "T. S. Eliot in Memoriam", [0, 5, 6, 4, 8, 9, 3, 2, 1, 10, 11, 7], pc set (0, 1, 2, 4, 5, 8)
- Stravinsky, Igor: Movements, [0, 1, 7, 5, 6, 11, 9, 8, 10, 3, 4, 2], pc set (0, 1, 2, 6, 7, 8)
- Stravinsky, Igor: Requiem Canticles, 1st series, [0, 2, 10, 11, 1, 8, 6, 7, 9, 4, 3, 5], pc set (0, 1, 2, 3, 4, 6)
- Stravinsky, Igor: Variations "Aldous Huxley in Memoriam", [0, 10, 7, 9, 2, 8, 6, 11, 1, 5, 4, 3], pc set (0, 1, 2, 3, 5, 7)
- Talma, Louise: Passacaglia and Fugue, [0, 4, 2, 9, 11, 7, 8, 3, 1, 6, 5, 10], pc set (0, 2, 4, 5, 7, 9)
- Talma, Louise: Piano Sonata 2, mvt 4, first row, [0, 4, 8, 2, 5, 10, 1, 11, 6, 9, 7, 3], pc set (0, 1, 3, 5, 7, 9)
- Talma, Louise: Six Etudes, Etude 1, [0, 3, 6, 8, 10, 2, 5, 7, 9, 1, 11, 4], pc set (0, 1, 3, 5, 7, 9)
- Talma, Louise: Six Etudes, Etude 4, [0, 1, 5, 9, 4, 8, 7, 6, 11, 2, 10, 3], pc set (0, 1, 4, 5, 8, 9)
- Talma, Louise: Six Etudes, Etude 5, [0, 4, 6, 11, 8, 3, 9, 1, 5, 7, 2, 10], pc set (0, 1, 3, 5, 8, 9)
- Talma, Louise: Six Etudes, Etude 6, [0, 8, 6, 9, 4, 5, 2, 1, 3, 10, 7, 11], pc set (0, 1, 2, 4, 5, 8)
- Talma, Louise: Three Bagatelles, Bagatelle 3, [0, 3, 4, 1, 5, 8, 10, 7, 2, 11, 6, 9], pc set (0, 1, 3, 4, 5, 8)
- Toufektsis, Orestis: MIKRO-ALLAXI (EpiEnteka II), für 15 Musiker, [0, 8, 3, 7, 2, 4, 10, 11, 1, 6, 9, 5], pc set (0, 1, 4, 5, 6, 8)
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 1A, [0, 10, 9, 1, 4, 8, 7, 2, 5, 11, 3, 6], pc set (0, 1, 2, 4, 5, 8)
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 3, [0, 10, 8, 4, 3, 6, 5, 11, 9, 1, 2, 7], pc set (0, 1, 3, 5, 7, 9)
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 5, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], pc set (0, 1, 3, 6, 7, 9)
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 7, [0, 2, 11, 8, 5, 3, 10, 9, 1, 7, 6, 4], pc set (0, 1, 3, 4, 6, 9)
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 8, [0, 4, 3, 11, 6, 8, 2, 9, 10, 7, 1, 5], pc set (0, 1, 3, 5, 8, 9)
- Tranchell, Peter: Septet : [for] 2 violins, oboe, clarinet, horn, bassoon, cello : fifth dodecafonia, [0, 2, 1, 10, 3, 4, 11, 6, 5, 9, 8, 7], pc set (0, 1, 2, 3, 4, 6)
- Tranchell, Peter: Twice a Kiss sketch 1, [0, 9, 1, 2, 4, 8, 5, 7, 10, 6, 3, 11], pc set (0, 1, 4, 5, 6, 8)
- Tranchell, Peter: Twice a Kiss sketch 2, [0, 9, 1, 2, 4, 8, 3, 11, 5, 6, 7, 10], pc set (0, 1, 4, 5, 6, 8)
- Tranchell, Peter: Twice a Kiss sketch 3, [0, 1, 2, 4, 8, 9, 7, 5, 3, 6, 10, 11], pc set (0, 1, 4, 5, 6, 8)
- Urbanner, Erich: Adagio, [0, 3, 1, 11, 10, 9, 8, 7, 6, 4, 2, 5], pc set (0, 1, 2, 3, 4, 6)
- Volkonsky, Andrei: Musica Stricta, mvt 2, row A, [0, 6, 8, 9, 11, 10, 1, 7, 2, 3, 5, 4], pc set (0, 1, 2, 3, 4, 6)
- Volkonsky, Andrei: Musica Stricta, mvt 2, row D, [0, 4, 9, 2, 8, 10, 11, 1, 3, 7, 5, 6], pc set (0, 1, 2, 4, 6, 8)
- Volkonsky, Andrei: Musica Stricta, mvt 4, row G, [0, 6, 5, 4, 3, 2, 1, 11, 9, 10, 8, 7], pc set (0, 1, 2, 3, 4, 6)
- Volkonsky, Andrei: Musica Stricta, mvt 4, row H, [0, 6, 4, 9, 8, 2, 7, 1, 11, 5, 10, 3], pc set (0, 1, 3, 5, 7, 9)
- Wang, Jian-Zhong: Five Pieces for Piano no. 1, "Pastorale" (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10, 1], pc set (0, 2, 3, 4, 5, 7)
- Wang, Xi-Lin: A Dilapidated Tombstone, [0, 4, 6, 3, 2, 10, 11, 5, 8, 9, 7, 1], pc set (0, 2, 3, 4, 6, 8)
- Weber, Ben: Fantasia (Variations), Op.25, [0, 1, 5, 9, 10, 2, 6, 11, 7, 4, 3, 8], pc set (0, 1, 3, 4, 5, 8)
- Weber, Ben: Five Bagatelles for Piano, Op.2, mvt ii, [0, 1, 2, 9, 6, 7, 4, 8, 5, 11, 10, 3], pc set (0, 1, 2, 5, 7, 8)
- Weber, Ben: Humoreske, Op.49, [0, 2, 4, 5, 7, 10, 1, 11, 9, 8, 6, 3], pc set (0, 2, 3, 5, 7, 9)
- Webern, Anton: Op.32 (un-finished), initial sketch, [0, 1, 9, 11, 3, 2, 7, 6, 10, 8, 4, 5], pc set (0, 1, 2, 3, 4, 6)
- Webern, Anton: Op.32 (un-finished), later sketch, [0, 1, 2, 11, 10, 9, 5, 4, 3, 6, 7, 8], pc set (0, 1, 2, 3, 4, 5)
- Webern, Anton: 3 Lieder, "Erlösung", Op.18, No.2, [0, 3, 11, 2, 10, 1, 9, 5, 8, 4, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- Webern, Anton: 3 Volkstexte, "Heiland, Unsere Missetaten...", Op.17, No.3, [0, 9, 8, 7, 11, 10, 4, 5, 6, 3, 2, 1], pc set (0, 1, 2, 3, 4, 5)
- Webern, Anton: 3 Volkstexte, "Liebste Jungfrau", Op.17, No.2, [0, 11, 10, 6, 7, 1, 2, 5, 4, 3, 8, 9], pc set (0, 1, 2, 3, 6, 7)
- Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5], pc set (0, 1, 2, 3, 4, 6)
- Webern, Anton: Concerto for Nine Instruments (Konzert), Op.24, [0, 11, 3, 4, 8, 7, 9, 5, 6, 1, 2, 10], pc set (0, 1, 4, 5, 8, 9)
- Webern, Anton: Klavierstück, [0, 1, 2, 11, 10, 4, 5, 6, 9, 8, 7, 3], pc set (0, 1, 2, 3, 4, 6)
- Webern, Anton: Quartet for Violin, Clarinet, Tenor Sax, And Piano, Op.22, [0, 9, 8, 11, 10, 2, 3, 4, 5, 7, 1, 6], pc set (0, 1, 2, 3, 4, 6)
- Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], pc set (0, 1, 2, 3, 6, 7)
- Webern, Anton: String Trio, Op.20, [0, 11, 6, 5, 10, 9, 1, 2, 7, 8, 4, 3], pc set (0, 1, 2, 3, 6, 7)
- Webern, Anton: Symphony, Op.21, [0, 3, 2, 1, 5, 4, 10, 11, 7, 8, 9, 6], pc set (0, 1, 2, 3, 4, 5)
- Webern, Anton: Three Songs on Texts by Hildegard Jone, Op.25, [0, 9, 8, 11, 6, 10, 7, 4, 3, 5, 2, 1], pc set (0, 1, 2, 3, 4, 6)
- Webern, Anton: Variations for Orchestra, Op.30, [0, 1, 4, 3, 2, 5, 6, 9, 8, 7, 10, 11], pc set (0, 1, 2, 3, 4, 5)
- Webern, Anton: Variations for Piano, Op.27, [0, 8, 7, 11, 10, 9, 3, 1, 4, 2, 6, 5], pc set (0, 1, 2, 3, 4, 5)
- Westergaard, Peter: Mr. and Mrs. Discobbolos, [0, 2, 1, 4, 3, 5, 8, 6, 10, 7, 11, 9], pc set (0, 1, 2, 3, 4, 5)
- Wilson, Olly: Piece for Four', [0, 8, 9, 4, 2, 6, 7, 11, 10, 3, 5, 1], pc set (0, 1, 3, 5, 7, 9)
- Wolpe, Stefan: Four Studies on Basic Rows, No.1 - Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4, 9, 3], pc set (0, 1, 2, 6, 7, 8)
- Wolpe, Stefan: Four Studies on Basic Rows, No.2 - Study on Thirds, [0, 11, 9, 8, 10, 7, 6, 5, 3, 2, 4, 1], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 11-10-11-2-9-11-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7, 9], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 2-2-2-2-2-1-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8, 11], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 3-10-3-10-3-1-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9, 1], pc set (0, 2, 4, 6, 8, 10), self-rotational interval pattern 4-4-6-4-4-5-
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8, 5], pc set (0, 1, 2, 3, 4, 5), self-rotational interval pattern 9-4-9-4-9-7-
- Wuorinen, Charles: Flute Variations II, [0, 1, 3, 2, 5, 4, 9, 10, 6, 8, 7, 11], pc set (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Piano Concerto, No.3, [0, 5, 2, 1, 11, 3, 10, 9, 4, 6, 8, 7], pc set (0, 1, 2, 3, 4, 6)
- Wuorinen, Charles: Reliquary for Igor Stravinsky, [0, 11, 7, 5, 6, 8, 2, 4, 9, 3, 1, 10], pc set (0, 1, 2, 3, 6, 7)
- Wuorinen, Charles: Second Sonata, Source set, [0, 2, 10, 3, 5, 7, 6, 4, 1, 11, 9, 8], pc set (0, 2, 4, 5, 7, 9)
- Wuorinen, Charles: Second Sonata, Voice 2, [0, 2, 10, 9, 11, 1, 6, 4, 7, 5, 3, 8], pc set (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Second Sonata, Voice 3, [0, 2, 4, 3, 5, 1, 9, 7, 11, 10, 8, 6], pc set (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Sonata for Piano, [0, 3, 2, 4, 5, 1, 11, 8, 9, 7, 6, 10], pc set (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Third Piano Sonata, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6], pc set (0, 2, 4, 5, 7, 9)
- Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 1, [0, 4, 2, 6, 5, 8, 7, 9, 3, 1, 10, 11], pc set (0, 2, 3, 4, 6, 8)
- Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 2, [0, 11, 10, 4, 2, 1, 3, 6, 5, 9, 7, 8], pc set (0, 1, 2, 3, 4, 6)
- Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 1, [0, 11, 1, 9, 10, 7, 5, 6, 8, 2, 3, 4], pc set (0, 1, 2, 3, 4, 6)
- Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 2, [0, 4, 2, 8, 5, 6, 7, 9, 3, 11, 10, 1], pc set (0, 2, 3, 4, 6, 8)
- Yun, Isang: Funf Stücke für Klavier, Stück 4, [0, 1, 7, 8, 11, 3, 4, 9, 5, 2, 6, 10], pc set (0, 1, 4, 5, 6, 8)
- Yun, Isang: Funf Stücke für Klavier, Stück 5, [0, 11, 6, 3, 2, 10, 9, 1, 5, 4, 8, 7], pc set (0, 1, 2, 4, 5, 8)
- Yun, Isang: Gasa, [0, 11, 7, 8, 6, 5, 2, 9, 10, 1, 3, 4], pc set (0, 1, 2, 3, 6, 7)
- Yun, Isang: Riul für Klarinette und Klavier, [0, 5, 6, 9, 8, 4, 3, 7, 1, 2, 11, 10], pc set (0, 1, 2, 4, 5, 8)
- Zappa, Frank: Brown Shoes Don't Make It, [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6], pc set (0, 1, 2, 3, 4, 6)
- Zappa, Frank: Waltz, [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6], pc set (0, 1, 2, 3, 4, 6)
- Zenk, Ludwig: An einen Springbrunnnen, Op.6, No.1, [0, 2, 3, 7, 6, 10, 9, 1, 5, 11, 4, 8], pc set (0, 1, 3, 5, 8, 9)
- Zenk, Ludwig: Piano Sonata, Op.1, [0, 1, 8, 4, 6, 5, 2, 10, 9, 3, 11, 7], pc set (0, 1, 4, 5, 6, 8)
- Zhou, Jin-Min: Piano Quintet, Scherzo, [0, 10, 5, 4, 6, 11, 7, 9, 2, 3, 1, 8], pc set (0, 1, 2, 6, 7, 8)
- Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5], pc set (0, 1, 4, 5, 8, 9), self-rotational interval pattern 11-4-1-4-11-3-
- Zimmerman, Bernd Alois: Perspektiven, [0, 2, 10, 8, 4, 6, 3, 1, 5, 7, 11, 9], pc set (0, 2, 4, 6, 8, 10)
- Zimmermann, Bernd Alois: 'Ich wandte mich um und sah alles Unrecht das geschah unter der Sonne', [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], pc set (0, 1, 2, 3, 4, 5)
- hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954, [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2], pc set (0, 1, 2, 3, 6, 7)
Transposition Combinatorial
When two rows are combinatorial, the first hexachord of each complements the other meaning that they make up the total chromatic together. This list gives rows in this section that are combinatorial by transposition, i.e. combinatoriality holds between P0 and at least one transposition of P. The transposition(s) are given after the row. In this case, there is only one transposition-combinatorial hexachord, and only one interval, so they are all P0-P6
- Carter, Elliott: Night Fantasies, [0, 10, 3, 11, 8, 7, 1, 2, 5, 9, 4, 6], P0-P6
- Copland, Aaron: Inscape, ("Y form" or "Row 1"), [0, 4, 3, 11, 2, 7, 6, 8, 10, 9, 5, 1], P0-P6
- Hauer, Josef Matthias: 'Atonale Musik'. Klavierstücke 1922., Op.20, [0, 7, 4, 9, 5, 8, 3, 11, 2, 6, 1, 10], P0-P6
- Hauer, Josef Matthias: Nomos, Op.19 (bb.134-137), [0, 2, 1, 4, 5, 9, 6, 8, 10, 7, 11, 3], P0-P6
- Hauer, Josef Matthias: Nomos, Op.19 (bb.457-458), [0, 3, 4, 5, 8, 1, 6, 11, 9, 10, 2, 7], P0-P6
- Hauer, Josef Matthias: Romantische Phantasie für Orchester, [0, 10, 8, 5, 1, 9, 4, 11, 3, 7, 6, 2], P0-P6
- Hauer, Josef Matthias: XXXII. Zwölftonspiel für Violine, zwei Bratschen und Cello (2/2), [0, 7, 4, 3, 11, 2, 5, 1, 10, 9, 6, 8], P0-P6
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 13. März 1952, [0, 5, 9, 10, 8, 1, 4, 3, 6, 7, 11, 2], P0-P6
- Lackner, Peter: 'Hexentanz' für Violine und Klavier, [0, 3, 5, 7, 8, 4, 1, 10, 11, 2, 6, 9], P0-P6
- Lackner, Peter: Kanon für Klavier. 26. Juni 1983, [0, 7, 5, 9, 4, 8, 6, 1, 11, 3, 10, 2], P0-P6
- Lang, Bernhard: Monadologie XIII a; 'The Saucy Maid', [0, 1, 5, 2, 4, 9, 3, 10, 8, 11, 7, 6], P0-P6
- Lutyens, Elisabeth: Islands, Op.80, [0, 11, 7, 3, 8, 10, 9, 6, 4, 5, 1, 2], P0-P6
- Morris, Robert: Canonic Variations, [0, 3, 11, 1, 4, 8, 5, 6, 9, 10, 2, 7], P0-P6
- Morris, Robert: Cuts, [0, 10, 11, 7, 3, 8, 6, 9, 4, 5, 1, 2], P0-P6
- Morris, Robert: Knot Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], P0-P6
- Morris, Robert: Not Lilacs, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], P0-P6
- Morris, Robert: Roundelay, row 4, [0, 3, 11, 10, 7, 2, 6, 9, 5, 4, 1, 8], P0-P6
- Morris, Robert: Something New, [0, 9, 4, 8, 11, 7, 3, 6, 10, 5, 2, 1], P0-P6
- Morris, Robert: Strange Flowers, Occasional Storms, [0, 1, 8, 3, 5, 4, 10, 6, 9, 7, 11, 2], P0-P6
- Morris, Robert: …gradually…, [0, 1, 8, 3, 5, 4, 6, 7, 9, 11, 2, 10], P0-P6
- Nono, Luigi: Intolleranza, Soprano 1, [0, 3, 4, 7, 8, 5, 6, 9, 10, 1, 2, 11], P0-P6
- Preßl, Herrmann Markus: Fier Fafeln für Fier Fiolen, [0, 7, 8, 11, 9, 4, 6, 10, 1, 5, 3, 2], P0-P6
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 2, [0, 3, 7, 10, 2, 11, 6, 9, 1, 4, 8, 5], P0-P6
- Slonimsky, Nicholas: No. 1296b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 5, 10, 9, 2, 1, 6, 11, 4, 3, 8, 7], P0-P6
- Slonimsky, Nicholas: No. 1298b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11], P0-P6
- Slonimsky, Nicholas: No. 1300b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 3, 8, 4, 7, 5, 6, 9, 2, 10, 1, 11], P0-P6
- Slonimsky, Nicholas: No. 1301 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 8, 3, 5, 11, 9, 2, 10, 7, 6], P0-P6
- Slonimsky, Nicholas: No. 1302 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 1, 4, 2, 9, 5, 11, 3, 8, 10, 7, 6], P0-P6
- Slonimsky, Nicholas: No. 1305 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Sixth-Chord), [0, 3, 8, 10, 11, 7, 1, 5, 4, 2, 9, 6], P0-P6
- Slonimsky, Nicholas: No. 1306 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Triad), [0, 4, 7, 8, 3, 5, 11, 9, 2, 1, 10, 6], P0-P6
- Slonimsky, Nicholas: No. 1307 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Sixth-Chord), [0, 4, 9, 8, 11, 1, 7, 5, 2, 3, 10, 6], P0-P6
- Slonimsky, Nicholas: No. 1308 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Six-Four Chord), [0, 5, 8, 10, 9, 1, 7, 3, 4, 2, 11, 6], P0-P6
- Slonimsky, Nicholas: No. 1309 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Major Six-Four Chord), [0, 5, 9, 8, 10, 1, 7, 4, 2, 3, 11, 6], P0-P6
- Slonimsky, Nicholas: No. 1313 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 11, 2, 4, 3, 9, 10, 8, 5, 1, 6], P0-P6
- Slonimsky, Nicholas: No. 410 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4], P0-P6
- Slonimsky, Nicholas: No. 417 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 4, 3, 2, 7, 6, 5, 10, 9, 8, 1], P0-P6
- Slonimsky, Nicholas: No. 420 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], P0-P6
- Slonimsky, Nicholas: No. 456 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], P0-P6
- Slonimsky, Nicholas: No. 466 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 7, 3, 11, 10, 6, 2, 1, 9, 5, 4], P0-P6
- Slonimsky, Nicholas: No. 493 Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 1, 5, 3, 4, 8, 6, 7, 11, 9, 10, 2], P0-P6
- Slonimsky, Nicholas: No. 500 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 4, 3, 2, 7, 6, 5, 10, 9, 8, 1], P0-P6
- Slonimsky, Nicholas: No. 503 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 7, 3, 2, 10, 6, 5, 1, 9, 8, 4], P0-P6
- Slonimsky, Nicholas: No. 746 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 1, 5, 9, 10, 2, 6, 7, 11, 3, 4, 8], P0-P6
- Slonimsky, Nicholas: No. 795 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 8, 1, 9, 5, 10, 6, 2, 7, 3, 11, 4], P0-P6
- Spinner, Leopold: Fünf Lieder, Op.8, [0, 3, 4, 7, 8, 5, 11, 9, 10, 2, 6, 1], P0-P6
- Spinner, Leopold: Sonatina for Wind Instruments, Op.23, [0, 9, 1, 5, 4, 2, 8, 10, 11, 7, 3, 6], P0-P6
- Talma, Louise: Three Bagatelles, Bagatelle 3, [0, 3, 4, 1, 5, 8, 10, 7, 2, 11, 6, 9], P0-P6
- Weber, Ben: Fantasia (Variations), Op.25, [0, 1, 5, 9, 10, 2, 6, 11, 7, 4, 3, 8], P0-P6
Inversion Combinatorial
These rows are combinatorial by inversion. There are 13 such hexachords and some are combinatorial in more that one transposition, so the specific forms are given in the form P0-IX, or P0-IX,Y in the case of more than one match.
- Argento, Dominick: A Water Bird Talk, Lecturer Row, [0, 9, 5, 10, 2, 6, 3, 11, 8, 4, 1, 7], P0-I1
- Argento, Dominick: From the Diary of Virginia Woolf, [0, 7, 6, 2, 11, 5, 3, 1, 8, 9, 4, 10], P0-I3
- Atterberg, Kurt: Symphony 9 [Bbm], Op.54, 'Sinfonia visionaria', [0, 1, 5, 6, 7, 4, 8, 11, 10, 9, 2, 3], P0-I3
- Babbitt, Milton: The Crowded Air, [0, 8, 5, 7, 10, 6, 11, 1, 9, 3, 2, 4], P0-I9
- Bach, Johann Sebastian: Chromatische Fantasie, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], P0-I7
- Bartók, Béla: String Quartet, No.4, [0, 5, 6, 11, 4, 9, 10, 3, 8, 1, 2, 7], P0-I7
- Bartók, Béla: Violin Concerto, No.2, mvt 1, [0, 2, 8, 1, 9, 4, 10, 6, 3, 7, 11, 5], P0-I7
- Bartók, Béla: Violin Concerto, No.2, mvt 3, [0, 8, 2, 9, 1, 4, 10, 7, 6, 3, 11, 5], P0-I7
- Beecroft, Norma: Improvvisazioni Concertanti, No.1, [0, 1, 11, 9, 3, 2, 7, 6, 10, 8, 4, 5], P0-I7
- Bennett, Richard Rodney: Five Studies for Piano, [0, 3, 5, 6, 11, 9, 4, 2, 7, 8, 10, 1], P0-I1,7
- Berg, Alban: Lulu, Lulu (title character) row, [0, 2, 3, 5, 7, 9, 1, 10, 11, 4, 6, 8], P0-I1
- Berg, Alban: Lulu, Schoolboy row, [0, 2, 6, 10, 4, 7, 8, 3, 5, 9, 11, 1], P0-I3
- Berg, Alban: Lulu, permutation of main row, [0, 4, 2, 7, 9, 6, 8, 11, 3, 1, 5, 10], P0-I5
- Berg, Alban: Lyric Suite, mvt III, [0, 11, 7, 1, 2, 9, 3, 8, 10, 4, 5, 6], P0-I5
- Berger, Arthur: Chamber Music for Thirteen Players, [0, 1, 11, 7, 10, 9, 6, 5, 8, 4, 2, 3], P0-I3
- Berio, Luciano: Chamber Music, [0, 9, 3, 5, 7, 10, 2, 11, 4, 6, 8, 1], P0-I11
- Bischof, Rainer: 'Und so sink ich leise in mich selbst hinein'. Österreichischer Liederzyklus für Mezzosopran und Violine, Op.17, [0, 6, 5, 11, 4, 9, 3, 2, 8, 7, 1, 10], P0-I7
- Boulez, Pierre: 2nd Piano Sonata, mvt II, Section 1, [0, 2, 1, 11, 3, 9, 8, 10, 7, 6, 5, 4], P0-I7
- Boulez, Pierre: Le Soleil des eaux, series I, [0, 6, 10, 2, 5, 1, 7, 11, 3, 4, 8, 9], P0-I9
- Boulez, Pierre: Le Soleil des eaux, series II, [0, 6, 10, 2, 5, 1, 4, 7, 11, 8, 3, 9], P0-I9
- Boulez, Pierre: Le Soleil des eaux, series III, [0, 11, 7, 2, 6, 5, 4, 8, 10, 1, 3, 9], P0-I3
- Boulez, Pierre: Pli selon pli, [0, 1, 8, 6, 7, 9, 4, 5, 11, 3, 2, 10], P0-I11
- Boulez, Pierre: Structures Ia, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], P0-I1
- Cage, John: Sonata for Clarinet, [0, 1, 10, 11, 9, 7, 6, 5, 4, 8, 3, 2], P0-I3
- Cage, John: Sonata for Clarinet, mvt 2, [0, 11, 9, 10, 8, 6, 5, 4, 3, 7, 2, 1], P0-I1
- Cage, John: Two pieces for Piano, [0, 11, 8, 3, 4, 2, 9, 7, 1, 5, 10, 6], P0-I9
- Carlos, Juan: Canciones y Baladas, Balada II, [0, 4, 10, 6, 3, 8, 7, 2, 5, 9, 1, 11], P0-I5
- Coltrane, John: Miles Mode, [0, 3, 5, 2, 7, 9, 10, 8, 1, 11, 6, 4], P0-I1
- Cordero, Roque: Concerto for Violin, mvt 2A, [0, 11, 6, 4, 7, 8, 5, 9, 3, 10, 1, 2], P0-I9
- Cordero, Roque: Soliloquios, [0, 1, 5, 11, 3, 2, 9, 8, 4, 10, 6, 7], P0-I9
- Cordero, Roque: Violin Concerto mvt 1-3, [0, 11, 6, 4, 8, 7, 5, 1, 3, 2, 10, 9], P0-I9
- Crosse, Gordon: Elegy for Small Orchestra, Op.1, [0, 11, 3, 1, 9, 10, 5, 6, 2, 4, 8, 7], P0-I5
- Dallapiccola, Luigi: 'Intermezzo' from the 'Ciaccona' (of 'Ciaccona, intermezzo e adagio'), [0, 5, 6, 3, 8, 9, 7, 11, 10, 2, 1, 4], P0-I7
- Dallapiccola, Luigi: Canti di Liberationi, No.2, [0, 5, 8, 3, 1, 9, 10, 4, 2, 11, 7, 6], P0-I7
- Dallapiccola, Luigi: Canti di Liberazione, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], P0-I7
- Dallapiccola, Luigi: Cinque canti, [0, 11, 5, 8, 6, 2, 7, 3, 1, 4, 10, 9], P0-I3,9
- Dallapiccola, Luigi: Commiato, [0, 6, 5, 3, 9, 11, 10, 8, 7, 1, 2, 4], P0-I1,7
- Dallapiccola, Luigi: Dialoghi, [0, 1, 10, 2, 6, 4, 5, 3, 7, 11, 8, 9], P0-I9
- Dallapiccola, Luigi: Il Prigioniero, "Hope", [0, 1, 2, 3, 11, 5, 4, 10, 6, 7, 9, 8], P0-I9
- Dallapiccola, Luigi: Il prigioniero, "Prayer", [0, 3, 6, 11, 9, 2, 1, 7, 8, 4, 5, 10], P0-I7
- Dallapiccola, Luigi: Liriche greche c: Sex Carmina Alcaei, [0, 3, 5, 6, 2, 9, 8, 7, 4, 1, 10, 11], P0-I1
- Dallapiccola, Luigi: Quaderno musicale di Annalibera, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], P0-I7
- Dallapiccola, Luigi: Quattro liriche di Antonio Machado, i, iv, [0, 3, 5, 6, 8, 9, 11, 10, 7, 4, 2, 1], P0-I7
- Dallapiccola, Luigi: Requiescant, [0, 2, 1, 3, 4, 6, 7, 9, 8, 10, 5, 11], P0-I11
- Dallapiccola, Luigi: Requiescant (alternative view), [0, 2, 1, 7, 11, 8, 9, 6, 10, 4, 3, 5], P0-I5
- Dallapiccola, Luigi: Tempus, 'Exhortatio', [0, 11, 9, 3, 5, 6, 4, 7, 8, 2, 1, 10], P0-I1,7
- Dallapiccola, Luigi: Tempus, 'Ploratus', [0, 1, 7, 6, 10, 4, 3, 2, 5, 11, 9, 8], P0-I3,9
- Dallapiccola, Luigi: Ulisse [opera], [0, 2, 1, 3, 9, 8, 11, 10, 4, 6, 5, 7], P0-I7
- Dallapiccola, Luigi: Variazioni per orchestra, [0, 1, 5, 8, 10, 4, 3, 7, 9, 2, 11, 6], P0-I7
- Davies, Peter Maxwell: Five Pieces for Piano, Op.2, No.2, [0, 7, 11, 1, 3, 5, 8, 6, 4, 9, 10, 2], P0-I9
- Davies, Peter Maxwell: Sonata for Trumpet and Piano, Op.1, [0, 7, 6, 2, 11, 10, 8, 9, 1, 5, 3, 4], P0-I3
- Denisov, Edison: Five Etudes for Solo Bassoon, row A, [0, 6, 1, 7, 8, 3, 2, 9, 10, 5, 11, 4], P0-I5
- Denisov, Edison: Five Etudes for Solo Bassoon, row D, [0, 6, 1, 7, 8, 3, 2, 9, 10, 11, 5, 4], P0-I5
- Denisov, Edison: Five Etudes for Solo Bassoon, row F, [0, 6, 1, 7, 3, 2, 8, 9, 10, 5, 11, 4], P0-I11
- Dessau, Paul: >Guernica< for piano, [0, 7, 6, 2, 10, 11, 5, 9, 1, 3, 4, 8], P0-I3
- Dessau, Paul: Les Voix, [0, 11, 6, 8, 9, 3, 4, 10, 5, 7, 2, 1], P0-I1
- Eder, Helmut: Concerto for violin and orchestra, Op.32, [0, 9, 6, 2, 11, 3, 8, 1, 7, 5, 10, 4], P0-I7
- Eisler, Hanns: Deutsche Symphonie, mvt 5, [0, 1, 3, 5, 8, 9, 6, 11, 10, 4, 2, 7], P0-I7
- Eisler, Hanns: Deutsche Symphonie, mvt 9, [0, 4, 1, 10, 8, 6, 3, 11, 9, 2, 5, 7], P0-I3
- Eisler, Hanns: Deutsche Symphonie, mvts 1, 10, [0, 10, 6, 1, 11, 7, 5, 8, 9, 3, 4, 2], P0-I3
- Eisler, Hanns: Five Pieces for Orchestra, mvt 4, [0, 10, 9, 8, 6, 7, 3, 4, 5, 11, 1, 2], P0-I11
- Eisler, Hanns: Five Pieces for Orchestra, mvt 5, [0, 2, 6, 4, 10, 9, 11, 1, 7, 5, 8, 3], P0-I5
- Eisler, Hanns: Sonata for Piano, No.2 ("in Form von Variationen"), Op.6, row variant 1, [0, 4, 6, 3, 2, 1, 9, 10, 7, 8, 5, 11], P0-I11
- Eisler, Hanns: Sonata for Piano, No.2 ("in Form von Variationen"), Op.6, row variant 2, [0, 4, 3, 2, 6, 1, 9, 10, 7, 8, 5, 11], P0-I11
- Eisler, Hanns: Sonata for Piano, No.2 ("in Form von Variationen"), Op.6, row variant 5, [0, 3, 2, 4, 6, 1, 9, 10, 7, 8, 5, 11], P0-I11
- Eisler, Hanns: String Quartet, [0, 9, 3, 2, 11, 1, 4, 5, 10, 7, 8, 6], P0-I7
- Eisler, Hanns: Variations for Piano, [0, 3, 10, 6, 5, 8, 1, 11, 2, 4, 7, 9], P0-I7
- Eisler, Hanns: Zwei Elegien, No.2 (An die Überlebenden), [0, 1, 4, 3, 2, 6, 8, 11, 10, 9, 5, 7], P0-I11
- Evans, Bill: Twelve Tone Tune Two, [0, 9, 11, 1, 10, 3, 2, 6, 4, 5, 8, 7], P0-I5
- Fano, Michel: Sonata for Two Pianos, [0, 6, 10, 7, 9, 8, 3, 2, 4, 1, 5, 11], P0-I11
- Fine, Vivian: Four Songs, No.2, "Comfort To A Youth That Had Lost His Love", [0, 1, 2, 6, 9, 10, 11, 3, 5, 4, 7, 8], P0-I5
- Finney, Ross Lee: Concerto for Alto Sax, [0, 1, 3, 4, 6, 9, 11, 10, 8, 7, 5, 2], P0-I11
- Florey, Hans: Die Aussicht, [0, 9, 11, 8, 2, 10, 5, 6, 7, 4, 3, 1], P0-I3
- Florey, Hans: Hexaeder für Klavier, [0, 9, 4, 8, 5, 10, 11, 3, 2, 6, 1, 7], P0-I11
- Florey, Hans: Hälfte des Lebens, [0, 3, 4, 1, 7, 11, 6, 9, 10, 8, 2, 5], P0-I9
- Florey, Hans: I Ging, [0, 7, 2, 10, 11, 6, 5, 1, 9, 8, 4, 3], P0-I3
- Florey, Hans: Magischer Würfel mit 6 Spiegelpunkten, [0, 10, 1, 7, 4, 6, 5, 8, 3, 9, 2, 11], P0-I3,9
- Florey, Hans: Sechs Kanonzyklen einunddesselben magischen Quadrates, [0, 10, 1, 7, 4, 6, 5, 8, 3, 9, 2, 11], P0-I3,9
- Florey, Hans: Triptychon, [0, 8, 9, 3, 7, 2, 1, 10, 5, 6, 11, 4], P0-I1
- Florey, Hans: Zwölftonspiel für Streichquartett. 3. Dezember 1965, [0, 10, 2, 5, 3, 4, 1, 8, 9, 6, 7, 11], P0-I11
- Gerhard, Roberto: Capriccio for Solo Flute, [0, 11, 9, 3, 1, 10, 8, 6, 4, 7, 2, 5], P0-I5
- Gerhard, Roberto: Hymnody, [0, 10, 11, 8, 2, 9, 4, 5, 1, 6, 7, 3], P0-I3
- Gerhard, Roberto: String Quartet, [0, 7, 8, 2, 6, 10, 9, 11, 4, 5, 1, 3], P0-I11
- Gerhard, Roberto: String Quartet, No.2, [0, 1, 5, 2, 8, 7, 10, 9, 6, 11, 4, 3], P0-I11
- Gerhard, Roberto: Three Impromptus, [0, 8, 1, 10, 4, 6, 7, 5, 3, 2, 9, 11], P0-I3
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 3, [0, 5, 6, 11, 2, 1, 8, 7, 10, 4, 9, 3], P0-I9
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 4, [0, 9, 10, 11, 6, 5, 8, 7, 2, 3, 4, 1], P0-I1
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 8, [0, 1, 7, 6, 8, 9, 3, 2, 4, 5, 11, 10], P0-I11
- Ginastera, Alberto: Quintet, Op.29, Row Class III 1, [0, 11, 1, 8, 2, 7, 10, 3, 9, 4, 6, 5], P0-I5
- Ginastera, Alberto: Quintet, Op.29, Row Class III 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], P0-I5
- Ginastera, Alberto: Quintet, Op.29, Row Class VII 1, [0, 9, 10, 11, 4, 3, 6, 2, 1, 5, 8, 7], P0-I5
- Ginastera, Alberto: Quintet, Op.29, Row Class VII 2, [0, 11, 1, 8, 2, 7, 5, 6, 4, 9, 3, 10], P0-I5
- Ginastera, Alberto: Quintet, Op.29, mvt.III, [0, 7, 3, 10, 2, 6, 9, 1, 4, 8, 11, 5], P0-I11
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III S, [0, 6, 11, 5, 8, 2, 7, 1, 4, 10, 3, 9], P0-I3,9
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 2, [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], P0-I1
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 3, [0, 9, 3, 2, 11, 6, 5, 1, 8, 7, 4, 10], P0-I7
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 5, [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], P0-I9
- Goehr, Alexander: Piano Trio, Op.20, [0, 6, 7, 4, 3, 8, 5, 9, 11, 2, 10, 1], P0-I5
- Goeyvaerts, Karel: Violin concerto, No.2, [0, 11, 7, 1, 2, 9, 10, 8, 5, 6, 3, 4], P0-I5
- Gotham, Mark: 4x4x4x4, row 3, [0, 2, 6, 10, 7, 4, 11, 9, 8, 3, 5, 1], P0-I3
- Gotham, Mark: 4x4x4x4, row 4, [0, 2, 6, 10, 1, 4, 5, 3, 8, 9, 11, 7], P0-I9
- Gotham, Mark: Move On!, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], P0-I5,11
- Hamel, Peter Michael: 'Klangspirale' für 13 Spieler oder drei Orchestergruppen, [0, 10, 5, 9, 3, 4, 1, 6, 8, 11, 2, 7], P0-I11
- Hauer, Jose Matthias: XXXII. Zwölftonspiel; für Violine, Bratsche und Cello, [0, 2, 6, 1, 10, 9, 5, 8, 11, 7, 4, 3], P0-I5
- Hauer, Josef Matthias: 'Der Menschen Weg', Op.67, [0, 8, 5, 4, 10, 2, 7, 9, 1, 3, 11, 6], P0-I11
- Hauer, Josef Matthias: 'Die schwarze Spinne', Op.62, [0, 4, 10, 1, 5, 8, 11, 2, 7, 9, 6, 3], P0-I7
- Hauer, Josef Matthias: 'Emilie vor ihrem Brauttag' (Friedrich Hölderlin) für Altsolo und Orchester, Op.58, [0, 8, 3, 4, 11, 6, 9, 10, 2, 1, 5, 7], P0-I1
- Hauer, Josef Matthias: 'Salambo', opera after Gustave Flaubert;, Op.60, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], P0-I1
- Hauer, Josef Matthias: 'Tanz tibetanischer Mönche' im langsamen 3/4 Takt) [Zwölftonspiel]. 8. September 1956, [0, 7, 8, 6, 3, 1, 11, 2, 10, 5, 9, 4], P0-I5
- Hauer, Josef Matthias: 'Wandlungen' (chamber-oratorio for stage or concert, for six solo-voices, choir and orchestra; after words of Friedrich Hölderlin), Op.53, [0, 5, 11, 4, 10, 1, 6, 8, 9, 3, 7, 2], P0-I7
- Hauer, Josef Matthias: Baustein, [0, 8, 11, 1, 6, 10, 4, 2, 3, 5, 9, 7], P0-I3
- Hauer, Josef Matthias: Fünfte Tanzfantasie für kleines Orchester, Opus 66, [0, 10, 4, 7, 8, 11, 6, 2, 5, 9, 3, 1], P0-I1
- Hauer, Josef Matthias: Harmonie - Melodie - Rhythmus - in kristallischer Bindung - im vierfachen Kontrapunkt [Zwölftonspiel] für Zwölftonorchester, [0, 2, 10, 9, 6, 5, 1, 4, 7, 11, 8, 3], P0-I1
- Hauer, Josef Matthias: Hausmusik [Zwölftonspiel] für zwei Violinen und Klavier, [0, 1, 5, 3, 7, 10, 9, 6, 11, 4, 2, 8], P0-I9
- Hauer, Josef Matthias: Kammermusik [Zwölftonspiel] für Flöte, Oboe, Baßklarinette, Fagott, zwei Violinen, Bratsche, Cello und Klavier zu vier Händen. 24. Jänner 1957, [0, 9, 3, 7, 5, 10, 1, 6, 11, 4, 2, 8], P0-I11
- Hauer, Josef Matthias: Klavierstücke mit Überschriften nach Worten von Friedrich Hölderlin, Op.25 ;, No.10, [0, 6, 11, 10, 9, 5, 2, 3, 7, 1, 4, 8], P0-I1
- Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für Orchester. 10. Jänner 1957, [0, 8, 10, 2, 3, 6, 1, 9, 7, 4, 11, 5], P0-I7
- Hauer, Josef Matthias: Langsamer Walzer [Zwölftonspiel] für zwei Violinen, Bratsche, Cello und Klavier zu zwei Händen, [0, 6, 2, 11, 10, 7, 3, 4, 5, 9, 1, 8], P0-I3
- Hauer, Josef Matthias: Nomos, Op.19 (bb.106-108), [0, 10, 6, 1, 7, 4, 9, 5, 3, 8, 11, 2], P0-I3,9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.117-118), [0, 4, 5, 11, 7, 10, 3, 9, 6, 2, 1, 8], P0-I1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.119-120), [0, 10, 8, 6, 5, 7, 9, 2, 3, 1, 11, 4], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.123-124), [0, 8, 11, 5, 3, 7, 4, 9, 1, 6, 10, 2], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.125-126), [0, 11, 1, 10, 6, 8, 9, 5, 7, 3, 2, 4], P0-I3
- Hauer, Josef Matthias: Nomos, Op.19 (bb.138-140), [0, 3, 4, 2, 5, 6, 8, 7, 10, 11, 1, 9], P0-I1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.141-143), [0, 10, 11, 3, 5, 6, 7, 2, 1, 4, 8, 9], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.142-143), [0, 11, 10, 1, 5, 3, 8, 6, 9, 4, 7, 2], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.159-161), [0, 5, 1, 8, 10, 4, 6, 7, 3, 9, 11, 2], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.171-174), [0, 7, 1, 3, 9, 6, 8, 11, 10, 5, 4, 2], P0-I5,11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.175-178), [0, 10, 1, 2, 6, 5, 3, 4, 8, 9, 7, 11], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.192-193), [0, 9, 6, 2, 8, 4, 7, 10, 1, 3, 5, 11], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.196-197), [0, 2, 8, 6, 11, 5, 4, 10, 7, 3, 1, 9], P0-I3,9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.213-216), [0, 2, 6, 1, 10, 4, 5, 8, 11, 7, 3, 9], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.224-228), [0, 1, 9, 3, 4, 5, 10, 11, 6, 2, 8, 7], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.228-230), [0, 2, 9, 6, 5, 10, 7, 3, 8, 1, 4, 11], P0-I1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.231-233), [0, 6, 10, 3, 2, 8, 9, 5, 4, 1, 11, 7], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.234-237), [0, 11, 3, 1, 7, 4, 9, 6, 5, 10, 2, 8], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.241-243), [0, 2, 8, 1, 4, 9, 5, 6, 3, 11, 10, 7], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.257-262), [0, 7, 3, 8, 4, 2, 9, 1, 11, 6, 10, 5], P0-I1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.262-263), [0, 11, 2, 5, 1, 6, 9, 7, 10, 3, 4, 8], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.272-276), [0, 1, 5, 3, 7, 2, 8, 10, 4, 6, 11, 9], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.284-287), [0, 1, 11, 7, 6, 4, 10, 5, 2, 8, 3, 9], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.288-291), [0, 2, 10, 7, 4, 6, 11, 3, 5, 1, 8, 9], P0-I3
- Hauer, Josef Matthias: Nomos, Op.19 (bb.292-294), [0, 9, 2, 6, 3, 5, 10, 1, 11, 7, 4, 8], P0-I1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.325-328), [0, 5, 4, 2, 7, 6, 3, 11, 1, 8, 10, 9], P0-I3
- Hauer, Josef Matthias: Nomos, Op.19 (bb.328-332), [0, 3, 2, 7, 6, 10, 9, 11, 8, 5, 1, 4], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.366-371), [0, 5, 1, 7, 3, 2, 4, 8, 11, 6, 10, 9], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.372-375), [0, 8, 6, 1, 10, 11, 5, 9, 7, 4, 3, 2], P0-I3
- Hauer, Josef Matthias: Nomos, Op.19 (bb.387-390), [0, 3, 7, 4, 10, 1, 11, 9, 6, 8, 2, 5], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.403-409), [0, 11, 2, 10, 8, 1, 5, 3, 4, 6, 7, 9], P0-I5
- Hauer, Josef Matthias: Nomos, Op.19 (bb.422-425), [0, 6, 4, 2, 10, 9, 8, 5, 11, 7, 1, 3], P0-I5
- Hauer, Josef Matthias: Nomos, Op.19 (bb.425-427), [0, 8, 10, 7, 4, 2, 3, 5, 6, 11, 1, 9], P0-I1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.430-432), [0, 6, 8, 10, 9, 2, 7, 1, 3, 4, 5, 11], P0-I1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.438-441), [0, 1, 10, 8, 9, 4, 3, 5, 7, 11, 6, 2], P0-I3
- Hauer, Josef Matthias: Nomos, Op.19 (bb.441-445), [0, 1, 9, 8, 10, 4, 6, 5, 7, 2, 3, 11], P0-I3
- Hauer, Josef Matthias: Nomos, Op.19 (bb.451-453), [0, 2, 4, 1, 6, 11, 3, 8, 9, 7, 5, 10], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.452-455), [0, 5, 7, 8, 1, 2, 3, 4, 6, 11, 10, 9], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.463-464), [0, 4, 6, 7, 3, 9, 1, 10, 8, 11, 5, 2], P0-I5
- Hauer, Josef Matthias: Nomos, Op.19 (bb.479-483), [0, 6, 10, 9, 7, 8, 11, 4, 5, 3, 2, 1], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.494-496), [0, 7, 8, 5, 6, 11, 2, 3, 9, 4, 1, 10], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.50-53), [0, 2, 10, 4, 5, 3, 6, 7, 1, 8, 9, 11], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.501-503), [0, 5, 7, 1, 3, 2, 6, 10, 11, 8, 9, 4], P0-I11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.511-514), [0, 10, 1, 4, 6, 2, 9, 7, 11, 8, 5, 3], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.517-521), [0, 2, 10, 11, 6, 4, 5, 1, 3, 9, 8, 7], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.528-531), [0, 6, 7, 5, 8, 10, 9, 11, 4, 2, 1, 3], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.60-63), [0, 4, 1, 2, 9, 8, 10, 5, 11, 3, 6, 7], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.72-73), [0, 1, 7, 11, 4, 3, 9, 6, 5, 2, 10, 8], P0-I9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.73-78), [0, 8, 7, 2, 4, 11, 1, 3, 6, 5, 10, 9], P0-I5
- Hauer, Josef Matthias: Nomos, Op.19 (bb.84-87), [0, 10, 1, 11, 5, 3, 2, 6, 7, 8, 9, 4], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.93-94), [0, 1, 10, 8, 6, 2, 9, 4, 11, 7, 5, 3], P0-I5
- Hauer, Josef Matthias: Nomos, Op.19 (row 1), [0, 8, 9, 5, 4, 6, 10, 11, 7, 1, 2, 3], P0-I7
- Hauer, Josef Matthias: Nomos, Op.19 (row 2), [0, 6, 10, 4, 3, 2, 8, 7, 11, 9, 5, 1], P0-I11
- Hauer, Josef Matthias: Paraphonie [Zwölftonspiel] für Bratsche und Klavier, [0, 4, 10, 5, 8, 1, 11, 7, 2, 9, 6, 3], P0-I7
- Hauer, Josef Matthias: Sakraler Tanz [Zwölftonspiel] für Orchester, [0, 3, 10, 8, 5, 2, 9, 1, 11, 6, 4, 7], P0-I9
- Hauer, Josef Matthias: Sechste Suite für Orchester, Op.47, [0, 9, 6, 2, 8, 3, 10, 11, 7, 4, 5, 1], P0-I1,7
- Hauer, Josef Matthias: Symphonische Stücke für Streichorchester, Klavier und Harmonium, Op.49, [0, 4, 6, 3, 2, 8, 1, 11, 10, 7, 9, 5], P0-I1
- Hauer, Josef Matthias: Tanz im langsamen 3/4 Takt [Zwölftonspiel] für zwei Violinen, zwei Bratschen und Klavier zu zwei Händen, [0, 3, 10, 2, 11, 6, 8, 7, 4, 9, 1, 5], P0-I7
- Hauer, Josef Matthias: VIII. Zwölftonspiel für Orchester. Juni 1943, [0, 5, 10, 8, 4, 2, 11, 9, 3, 1, 7, 6], P0-I11
- Hauer, Josef Matthias: Violinkonzert, Op.54 (9. März - 6. April 1928), [0, 7, 6, 8, 4, 11, 1, 10, 5, 9, 2, 3], P0-I9
- Hauer, Josef Matthias: XXI. Zwölftonspiel für Orchester; mit einer Zwöfftonreihe, die in sechs Tropen steht, und vom Kulturreferenten der Stadt Wien Dr. Viktor Matejka gewählt wurde. Erster Teil 2,4-Takt (Halbe = 50) mit achttaktigen Perioden; zweiter Teil im 3/4 Takt (punktierte Halbe = 40) mit sechstaktigen Perioden, [0, 3, 4, 9, 11, 10, 1, 7, 6, 2, 5, 8], P0-I5
- Hauer, Josef Matthias: XXII. Zwölftonspiel für Klavier, [0, 2, 11, 6, 7, 10, 1, 3, 8, 4, 9, 5], P0-I3
- Hauer, Josef Matthias: XXIII. Zwölftonspiel für Klavierquintett, [0, 4, 11, 9, 10, 2, 6, 3, 7, 5, 8, 1], P0-I5
- Hauer, Josef Matthias: XXIV. Zwölftonspiel für Klavier, [0, 2, 9, 3, 8, 1, 4, 7, 11, 5, 6, 10], P0-I7
- Hauer, Josef Matthias: Zwölftonspiel (Weihnachten 1947) für Klarinette, Violine, Bratsche, Cello und Klavier, [0, 6, 2, 10, 8, 3, 11, 4, 9, 7, 5, 1], P0-I7
- Hauer, Josef Matthias: Zwölftonspiel 10. Juli 1957; für Klavier zu vier Händen, [0, 8, 10, 6, 2, 11, 1, 3, 9, 4, 7, 5], P0-I3
- Hauer, Josef Matthias: Zwölftonspiel 15. Juni 1957; für Flöte, Oboe, Bassklarinette, Fagott, zwei Violinen, Viola, Violoncello & Klavier vierhändig, [0, 6, 4, 8, 3, 11, 9, 2, 7, 1, 10, 5], P0-I1
- Hauer, Josef Matthias: Zwölftonspiel 2. Juni 1948 für Streichquartett und Klavier, [0, 3, 10, 6, 2, 11, 1, 4, 7, 9, 5, 8], P0-I7
- Hauer, Josef Matthias: Zwölftonspiel 26. Juli 1957, für Flöte, Oboe, Bassklarinette, Fagott und Streichquartett, [0, 4, 1, 6, 8, 2, 10, 7, 3, 9, 11, 5], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel 3. Mai 1958; für Streichsextett, [0, 4, 10, 3, 7, 1, 8, 2, 11, 6, 9, 5], P0-I9
- Hauer, Josef Matthias: Zwölftonspiel 5. September 1957; für Violine, Bratsche und Klavier, [0, 4, 2, 9, 10, 6, 11, 1, 7, 3, 8, 5], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel 7. April 1957; für zwei Violinen, Bratsche, Cello und Klavier zu vier Händen, [0, 6, 2, 9, 10, 4, 11, 3, 7, 1, 5, 8], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel 9. September 1957; für vier Solostimmen [S, A, T, B], Violine, Bratsche und Klavier, [0, 4, 2, 9, 10, 6, 11, 1, 7, 3, 8, 5], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel Jänner 1957; für zwei Violinen, Bratsche und Cello, [0, 10, 6, 2, 8, 3, 5, 7, 9, 4, 1, 11], P0-I7
- Hauer, Josef Matthias: Zwölftonspiel Oktober 1956; für Klavier zu vier Händen, [0, 9, 6, 2, 8, 3, 10, 5, 1, 11, 7, 4], P0-I1,7
- Hauer, Josef Matthias: Zwölftonspiel für Flöte, Horn, Violine, Bratsche, Cello und Klavier, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Gitarre. 24. 7. 1949, [0, 6, 10, 2, 5, 9, 1, 4, 7, 3, 11, 8], P0-I1
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 11. Juni 1955, [0, 6, 11, 4, 2, 9, 3, 1, 5, 7, 10, 8], P0-I7
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 17. Juli 1952, [0, 6, 4, 9, 2, 10, 7, 11, 1, 8, 5, 3], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 2. Juni 1955, [0, 10, 2, 7, 3, 6, 4, 8, 1, 9, 11, 5], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 24. Dezember 1946, [0, 1, 2, 6, 10, 5, 11, 4, 3, 9, 7, 8], P0-I9
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. 7. Juni 1955, [0, 4, 10, 7, 11, 8, 3, 1, 5, 6, 2, 9], P0-I1
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. März 1953, [0, 6, 8, 7, 5, 10, 2, 3, 11, 4, 9, 1], P0-I9
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, Violine, Bratsche, Cello und Kontrabaß (melischer Entwurf vom 29.8.1954), [0, 4, 2, 7, 9, 6, 8, 3, 11, 5, 10, 1], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, mit einer Zwölftonreihe von Nikolaus Fheodoroff. 10. Juli 1952, [0, 10, 6, 8, 9, 7, 11, 3, 1, 5, 2, 4], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, mit einer Zwölftonreihe von Nikolaus Fheodoroff. 8. Juli 1952, [0, 2, 10, 6, 8, 7, 5, 9, 11, 3, 1, 4], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen, zwei Violinen, Bratsche und Cello. 19. Oktober 1954, [0, 6, 11, 2, 1, 5, 3, 8, 10, 7, 9, 4], P0-I9
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 24. Juni 1952, [0, 6, 10, 7, 9, 3, 4, 1, 8, 5, 11, 2], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 26. Juni 1952, [0, 6, 2, 10, 9, 5, 3, 4, 8, 7, 11, 1], P0-I1
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. 30. Juni 1952, I, [0, 2, 10, 4, 11, 8, 1, 7, 5, 3, 6, 9], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen. Mai 1955, [0, 6, 11, 4, 2, 9, 3, 1, 5, 7, 10, 8], P0-I7
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen und Akkordeon (Hausorchester), [0, 7, 2, 9, 6, 4, 11, 3, 10, 8, 1, 5], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu vier Händen und Streichquartett, [0, 7, 2, 10, 6, 8, 3, 11, 9, 4, 1, 5], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954, [0, 8, 9, 6, 10, 4, 11, 1, 2, 5, 3, 7], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Orchester. September 1957, [0, 8, 6, 10, 5, 7, 2, 4, 1, 9, 11, 3], P0-I9
- Hauer, Josef Matthias: Zwölftonspiel für Violine, Cello und Klavier zu vier Händen, [0, 10, 6, 1, 8, 3, 11, 7, 2, 5, 9, 4], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier. 3. April 1955, [0, 2, 6, 4, 9, 10, 5, 3, 7, 8, 11, 1], P0-I5
- Hauer, Josef Matthias: Zwölftonspiel für Orchester. 28. 9. 1954, [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2], P0-I3
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche, Cello und Klavier. 16. April 1958, [0, 3, 8, 2, 9, 1, 11, 5, 7, 4, 6, 10], P0-I7
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche und Cello ('Ins Räumliche übertragen'). 3. September 1953, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], P0-I11
- Hauer, Josef Matthias: Zwölftonspiel in drei Teilen für zwei Violinen, Bratsche und Cello. 31. Juli 1953, [0, 10, 7, 2, 8, 6, 3, 4, 9, 11, 1, 5], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.10, [0, 4, 6, 7, 8, 10, 9, 5, 3, 2, 1, 11], P0-I9
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.11, [0, 4, 5, 6, 8, 9, 7, 3, 2, 1, 11, 10], P0-I7
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.12, [0, 3, 6, 7, 9, 10, 11, 8, 5, 4, 2, 1], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.14, [0, 2, 5, 7, 8, 10, 11, 9, 6, 4, 3, 1], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.15, [0, 1, 3, 6, 7, 9, 11, 10, 8, 5, 4, 2], P0-I5,11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.16, [0, 1, 3, 5, 7, 10, 9, 8, 6, 4, 2, 11], P0-I9
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.17, [0, 1, 3, 5, 8, 9, 7, 6, 4, 2, 11, 10], P0-I7
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.18, [0, 3, 4, 6, 9, 10, 11, 8, 7, 5, 2, 1], P0-I5,11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.2, [0, 1, 2, 3, 4, 10, 9, 8, 7, 6, 5, 11], P0-I9
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.20, [0, 1, 2, 5, 7, 8, 11, 10, 9, 6, 4, 3], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.21, [0, 1, 2, 5, 6, 10, 9, 8, 7, 4, 3, 11], P0-I9
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.22, [0, 1, 2, 4, 8, 9, 7, 6, 5, 3, 11, 10], P0-I7
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.23, [0, 3, 4, 5, 9, 10, 11, 8, 7, 6, 2, 1], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.24, [0, 3, 4, 7, 8, 10, 9, 6, 5, 2, 1, 11], P0-I9
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.25, [0, 3, 5, 6, 8, 9, 7, 4, 2, 1, 11, 10], P0-I7
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.26, [0, 3, 4, 6, 7, 8, 5, 2, 1, 11, 10, 9], P0-I5
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.27, [0, 2, 4, 5, 6, 7, 3, 1, 11, 10, 9, 8], P0-I3
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.29, [0, 1, 6, 7, 8, 9, 11, 10, 5, 4, 3, 2], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.3, [0, 2, 3, 4, 5, 10, 11, 9, 8, 7, 6, 1], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.31, [0, 1, 2, 3, 6, 7, 11, 10, 9, 8, 5, 4], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.32, [0, 1, 2, 3, 4, 6, 11, 10, 9, 8, 7, 5], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.4, [0, 2, 3, 4, 8, 10, 9, 7, 6, 5, 1, 11], P0-I9
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.5, [0, 2, 4, 5, 8, 10, 11, 9, 7, 6, 3, 1], P0-I11
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.7, [0, 2, 4, 6, 8, 9, 7, 5, 3, 1, 11, 10], P0-I7
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.8, [0, 2, 4, 6, 7, 8, 5, 3, 1, 11, 10, 9], P0-I5
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.9, [0, 4, 6, 8, 9, 10, 11, 7, 5, 3, 2, 1], P0-I11
- Hendler, Maximilian: aus den fünf Liedern nach Texten von Elisabeth Pöschl : 'Sonnenaufgang' für Singstimme und Klavier, Op.44-1, [0, 11, 2, 1, 5, 6, 4, 3, 8, 7, 9, 10], P0-I9
- Husa, Karel: Poème for Viola and Chamber Orchestra, mvt 1, [0, 6, 5, 7, 8, 11, 9, 10, 3, 4, 2, 1], P0-I9
- Husa, Karel: Poème for Viola and Chamber Orchestra, mvt 3, [0, 3, 1, 2, 4, 10, 9, 11, 7, 8, 6, 5], P0-I9
- Johnston, Ben: String Quartet, No.6, [0, 5, 10, 9, 3, 7, 11, 6, 1, 2, 8, 4], P0-I11
- Kahn, Erich Itor: Bagatelle für Rene Leibowitz, [0, 1, 2, 4, 6, 3, 10, 11, 5, 7, 9, 8], P0-I11
- Kalodiki, Georgia: Six Sketches for piano, [0, 7, 6, 1, 2, 9, 8, 3, 4, 11, 5, 10], P0-I5
- Klein, Fritz Heinrich: Die Maschine. Eine extonale Selbstsatire von Heautontimorumenus., Op.1 (Das Maschinen-Thema), [0, 5, 7, 9, 3, 2, 11, 6, 8, 10, 4, 1], P0-I1
- Klenau, Paul von: Elisabeth von England, [0, 2, 8, 11, 7, 1, 4, 10, 3, 6, 5, 9], P0-I5
- Krenek, Ernst: Eight Piano Pieces, [0, 10, 1, 7, 6, 11, 5, 8, 3, 9, 2, 4], P0-I3
- Krenek, Ernst: Karl V, King Francis Row, [0, 10, 5, 6, 11, 3, 9, 4, 2, 7, 1, 8], P0-I7
- Krenek, Ernst: Kette, Kreis, und Spiegel (Circle, Chain and Mirror), Op.160, [0, 5, 6, 9, 8, 4, 10, 7, 11, 3, 1, 2], P0-I7
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 1, [0, 2, 4, 5, 8, 10, 6, 7, 9, 11, 1, 3], P0-I11
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 2, [0, 2, 3, 6, 8, 10, 5, 7, 9, 11, 1, 4], P0-I7
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 3, [0, 1, 4, 6, 8, 10, 5, 7, 9, 11, 2, 3], P0-I3
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 4, [0, 3, 5, 7, 9, 11, 6, 8, 10, 1, 2, 4], P0-I1
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 5, [0, 2, 4, 6, 8, 9, 5, 7, 10, 11, 1, 3], P0-I7
- Krenek, Ernst: Lamentatio Jeremiae Prophetae, Op.93, row 6, [0, 2, 4, 6, 7, 10, 5, 8, 9, 11, 1, 3], P0-I3
- Krenek, Ernst: Sechs Vermessene, Op.168, [0, 3, 1, 6, 2, 4, 10, 5, 9, 7, 8, 11], P0-I11
- Krenek, Ernst: Sestina, Op.161, [0, 8, 11, 10, 4, 6, 7, 1, 5, 3, 9, 2], P0-I1
- Krenek, Ernst: Sonata, No.3, Op.92, No.4, [0, 10, 5, 8, 3, 2, 6, 7, 1, 9, 11, 4], P0-I9
- Krenek, Ernst: Studies in Counterpoint, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], P0-I5
- Krenek, Ernst: Studies in Counterpoint (i), [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], P0-I5
- Krenek, Ernst: Studies in Counterpoint (ii), [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], P0-I5
- Krenek, Ernst: Suite, Op.84 for solo cello, [0, 4, 3, 11, 10, 9, 1, 7, 8, 6, 2, 5], P0-I5
- Krenek, Ernst: Symeon, der Stylit, [0, 3, 10, 4, 9, 11, 8, 7, 5, 1, 2, 6], P0-I5
- Krenek, Ernst: concert for organ and string-orchestra, Op.230, [0, 11, 8, 4, 3, 6, 7, 5, 2, 9, 10, 1], P0-I1
- Kukuck, Felicitas: 'Wo bist Du Trost'; motet, [0, 11, 10, 7, 6, 1, 2, 5, 4, 3, 9, 8], P0-I3
- Lackner, Peter: 'Davongeflogene Seelen' für Singstimme, Violoncello und Klavier, [0, 10, 4, 7, 6, 1, 9, 11, 5, 2, 3, 8], P0-I3,9
- Lackner, Peter: 'Der Winter', [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8], P0-I1,7
- Lackner, Peter: 'INKE TAN MAGROV' für Singstimme und Klavier, [0, 6, 5, 10, 8, 3, 7, 1, 2, 9, 11, 4], P0-I7
- Lackner, Peter: 'Ständchen' für zwei Violinen und zwei Bratschen. 1913,2013, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], P0-I5
- Lackner, Peter: 'Wo ist der Freund' (erstes Lied aus dem Zyklus 'Wilde Erdbeeren' für Singstimme und Klavier), [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], P0-I7
- Lackner, Peter: 1. Kanonzyklus, [0, 7, 5, 9, 1, 3, 11, 8, 4, 6, 10, 2], P0-I11
- Lackner, Peter: 3. Kanonzyklus, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], P0-I5
- Lackner, Peter: 4. Kanonzyklus, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], P0-I9
- Lackner, Peter: 5. Kanonzyklus, [0, 7, 11, 9, 1, 3, 5, 8, 10, 6, 2, 4], P0-I5
- Lackner, Peter: AGNI MEI (Kanon für Klavier. 5. Juni 2015), [0, 4, 10, 11, 1, 2, 8, 7, 3, 6, 9, 5], P0-I7
- Lackner, Peter: Florianische Reihe, [0, 3, 9, 7, 4, 11, 5, 2, 8, 6, 1, 10], P0-I5
- Lackner, Peter: INKE TAN MAGROV für Singstimme und Klavier (zweites Lied aus dem Zyklus 'Wilde Erdbeeren'), [0, 2, 9, 5, 8, 11, 3, 1, 6, 10, 7, 4], P0-I3
- Lackner, Peter: Kanon-Polska für zwei Bratschen. 6. Juni 1993, [0, 6, 3, 1, 10, 8, 5, 11, 2, 4, 7, 9], P0-I5
- Lackner, Peter: Kanon für B. L., 7. Oktober 2017, [0, 9, 10, 5, 3, 7, 11, 2, 1, 6, 8, 4], P0-I11
- Lackner, Peter: Kanon für Cello und Klavier, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], P0-I1
- Lackner, Peter: Kanon für Flöte, Akkordeon, zwei Violinen, Bratsche und Klavier, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], P0-I9
- Lackner, Peter: Kanon für Hammerklavier. März 2016, [0, 2, 1, 5, 7, 3, 11, 9, 10, 6, 4, 8], P0-I11
- Lackner, Peter: Kanon für Kammerorchester, [0, 9, 11, 6, 2, 4, 7, 10, 8, 1, 5, 3], P0-I7
- Lackner, Peter: Kanon für Klavier, [0, 6, 8, 10, 1, 3, 5, 11, 9, 7, 4, 2], P0-I5
- Lackner, Peter: Kanon für Klavier. 15. Juni 1992, [0, 10, 3, 8, 6, 5, 2, 1, 11, 4, 9, 7], P0-I7
- Lackner, Peter: Kanon für Klavier. 21. Juni 1998, [0, 7, 6, 5, 1, 4, 3, 8, 9, 10, 2, 11], P0-I3
- Lackner, Peter: Kanon für Klavier. 27. Juni, 26. September 2002, [0, 9, 4, 1, 2, 8, 7, 10, 3, 6, 5, 11], P0-I7
- Lackner, Peter: Kanon für Klavier. 5. April 1989, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], P0-I1
- Lackner, Peter: Kanon für Klavier. April 2000, [0, 5, 3, 7, 11, 1, 9, 4, 6, 2, 10, 8], P0-I9
- Lackner, Peter: Kanon für Klavier zu vier Händen. 12. Juni 1996, [0, 4, 2, 8, 11, 10, 5, 1, 3, 9, 6, 7], P0-I5
- Lackner, Peter: Kanon für Klavier zu vier Händen. Frühling 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2, 3], P0-I3
- Lackner, Peter: Kanon für Klavierquartett, [0, 8, 6, 11, 3, 9, 1, 5, 7, 2, 10, 4], P0-I1
- Lackner, Peter: Kanon für Klavierquartett. 27. April 1991, [0, 6, 3, 5, 9, 11, 7, 1, 4, 2, 10, 8], P0-I1,7
- Lackner, Peter: Kanon für Klavierquartett. 27. Juni 1991, [0, 2, 6, 9, 11, 3, 7, 5, 1, 10, 8, 4], P0-I7
- Lackner, Peter: Kanon für Schwegelpfeife in A und Geige, [0, 9, 7, 2, 10, 4, 3, 6, 8, 1, 5, 11], P0-I3
- Lackner, Peter: Kanon für Streichquartett, [0, 9, 3, 5, 1, 11, 7, 10, 4, 2, 6, 8], P0-I7
- Lackner, Peter: Kanon für Streichquartett. 3. Jänner 1990, [0, 6, 4, 8, 11, 3, 1, 7, 9, 5, 2, 10], P0-I1
- Lackner, Peter: Kanon für Streichquartett und Orgel. 21. November 1993, [0, 10, 2, 5, 4, 7, 1, 11, 3, 9, 8, 6], P0-I1
- Lackner, Peter: Kanon für Tenor-Hackbrett. 19. März 2014, [0, 8, 4, 6, 9, 1, 11, 3, 7, 5, 2, 10], P0-I11
- Lackner, Peter: Kanon für Violine, Bratsche und Klavier, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], P0-I5
- Lackner, Peter: Kanon für Violine und Violoncello, [0, 2, 9, 10, 6, 5, 1, 11, 4, 3, 7, 8], P0-I1
- Lackner, Peter: Kanon für acht Instrumente. Dezember 1991, März 2007, [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5], P0-I7
- Lackner, Peter: Kanon für drei Bratschen, [0, 11, 3, 10, 6, 2, 7, 8, 4, 9, 1, 5], P0-I7
- Lackner, Peter: Kanon für sechs Instrumente. 16. März 2009, [0, 7, 6, 3, 2, 10, 1, 8, 11, 5, 4, 9], P0-I11
- Lackner, Peter: Kanon für sechs Posaunen. Herbst 1996, [0, 9, 1, 6, 4, 8, 11, 2, 10, 7, 5, 3], P0-I11
- Lackner, Peter: Kanon für zwei Gitarren. September 2001, [0, 5, 3, 9, 11, 6, 7, 2, 4, 10, 8, 1], P0-I1,7
- Lackner, Peter: Kanon für zwei Violinen und Klavier. Frühjahr 1984, [0, 1, 10, 7, 9, 4, 5, 11, 8, 6, 2, 3], P0-I3
- Lackner, Peter: Kanon à 3, [0, 11, 6, 10, 2, 7, 3, 4, 9, 5, 1, 8], P0-I3
- Lackner, Peter: Kanon à 4 - 'Für Harald Fripertinger zum 50. Geburtstag', [0, 10, 3, 6, 5, 8, 1, 11, 9, 4, 7, 2], P0-I7
- Lackner, Peter: Kanon á 4, [0, 4, 2, 8, 11, 7, 10, 5, 9, 1, 3, 6], P0-I5
- Lackner, Peter: Kanon á 5 für Klaus Chudoba, [0, 2, 10, 8, 6, 11, 3, 1, 5, 7, 9, 4], P0-I3
- Lackner, Peter: Moebius-Band für Flöte, Violine, Violoncello und Klavier, [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], P0-I7
- Lackner, Peter: Moebius-Band für sechs Violinen, [0, 3, 6, 2, 9, 11, 7, 4, 1, 5, 10, 8], P0-I7
- Lackner, Peter: Moebiusband für Violine und Klavier (Chinesenfolter I), [0, 2, 4, 6, 10, 5, 1, 11, 9, 7, 3, 8], P0-I1
- Lackner, Peter: Reihenspiel für Orgel, [0, 9, 6, 11, 5, 4, 10, 7, 2, 1, 8, 3], P0-I7
- Lackner, Peter: Salambo-Kanon (à 4); Bad Aussee, 2. Februar 2008, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], P0-I1
- Lackner, Peter: Sponsions-Kanon, [0, 4, 1, 10, 3, 7, 9, 5, 8, 11, 6, 2], P0-I9
- Lackner, Peter: TACET (drittes Lied aus dem Zyklus 'Wilde Erdbeeren'), [0, 2, 9, 5, 8, 11, 4, 7, 10, 6, 1, 3], P0-I3
- Leibowitz, René: String Quartet, No.3, Op.26, [0, 8, 9, 7, 6, 1, 2, 5, 4, 10, 11, 3], P0-I11
- Lewin, David: Just a Minute, Roger, [0, 11, 4, 5, 7, 3, 2, 6, 8, 1, 10, 9], P0-I1
- Lu, Shi-Lin: A Family of Red-Crowned Cranes, [0, 2, 9, 7, 4, 6, 11, 8, 1, 3, 10, 5], P0-I5
- Lu, Yen: A Bird Flying By, [0, 6, 3, 4, 8, 7, 11, 5, 10, 2, 9, 1], P0-I5
- Luo, Zhong-Rong: Dusk, row 1, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], P0-I11
- Luo, Zhong-Rong: Evening, [0, 2, 7, 5, 10, 8, 6, 3, 1, 11, 9, 4], P0-I11
- Luo, Zhong-Rong: Sonatina, mvt 3, [0, 2, 7, 4, 11, 8, 5, 9, 10, 1, 3, 6], P0-I5
- Luo, Zhong-Rong: String Quartet, No.2, [0, 3, 5, 10, 6, 8, 11, 1, 9, 2, 4, 7], P0-I7
- Luo, Zhong-Rong: String Quartet, No.3, row 1, [0, 2, 4, 7, 5, 10, 8, 1, 6, 3, 9, 11], P0-I1
- Luo, Zhong-Rong: String Quartet, No.3, row 3, [0, 2, 7, 9, 11, 1, 3, 6, 10, 4, 5, 8], P0-I5
- Luo, Zhong-Rong: Three Piano Pieces, "Arabeque", row 1, [0, 2, 5, 10, 6, 1, 3, 8, 11, 9, 7, 4], P0-I9
- Lutyens, Elisabeth: Five Little Pieces for Clarinet and Piano, [0, 8, 4, 1, 10, 2, 9, 3, 5, 6, 11, 7], P0-I7
- Lutyens, Elisabeth: Présages, Op.53, [0, 1, 11, 2, 10, 8, 5, 3, 4, 7, 9, 6], P0-I5
- Lutyens, Elisabeth: Quincunx, Op.44, [0, 6, 11, 1, 5, 2, 7, 3, 4, 9, 10, 8], P0-I9
- Maderna, Bruno: Improvvisazione N. 1, [0, 11, 4, 8, 3, 2, 7, 6, 1, 5, 10, 9], P0-I9
- Maderna, Bruno: Musica su due dimensioni, [0, 2, 9, 4, 6, 11, 8, 10, 1, 3, 5, 7], P0-I7
- Martin, Frank: Petite complainte, [0, 11, 10, 6, 2, 4, 5, 9, 8, 7, 3, 1], P0-I7
- Martino, Donald: Fantasy Variations, [0, 3, 1, 10, 2, 8, 11, 5, 6, 9, 7, 4], P0-I7
- Matthias, Josef: Salambo, Op.60, [0, 6, 9, 2, 8, 10, 4, 7, 1, 11, 3, 5], P0-I1
- Messiaen, Olivier: Mode de valeurs et d'intensités, Series 1, [0, 11, 6, 5, 4, 3, 1, 10, 9, 7, 2, 8], P0-I1
- Morris, Robert: Entanglements, [0, 3, 10, 5, 11, 6, 1, 7, 9, 2, 8, 4], P0-I7
- Morris, Robert: Exchanges, [0, 4, 3, 1, 9, 5, 8, 6, 2, 10, 11, 7], P0-I11
- Morris, Robert: Pari Passu, row 1, [0, 6, 10, 11, 2, 3, 9, 1, 7, 8, 4, 5], P0-I7
- Morris, Robert: Refrains, [0, 3, 4, 2, 6, 10, 1, 8, 11, 7, 5, 9], P0-I11
- Morris, Robert: Roundelay, row 3, [0, 10, 9, 3, 4, 6, 8, 11, 2, 7, 1, 5], P0-I5,11
- Morris, Robert: Terrane, [0, 11, 1, 3, 2, 5, 6, 4, 9, 7, 8, 10], P0-I9
- Morris, Robert: Three Musicians, [0, 9, 7, 6, 8, 1, 11, 2, 4, 5, 3, 10], P0-I11
- Morris, Robert: Tournament for 12 trombones, [0, 7, 6, 4, 11, 8, 5, 9, 1, 3, 2, 10], P0-I9
- Nichols, Jeff: ...its darkening opposite, or Set Portrait in a Convex Mirror, [0, 4, 8, 7, 11, 2, 3, 6, 1, 9, 10, 5], P0-I5
- Nono, Luigi: Incontri, [0, 2, 3, 8, 9, 6, 4, 5, 7, 11, 1, 10], P0-I1,7
- Nono, Luigi: Intolleranza, Baritone, [0, 2, 7, 9, 4, 6, 11, 1, 8, 10, 3, 5], P0-I5
- Nono, Luigi: La terra e la compagna (sketch), Series 3, [0, 9, 6, 3, 1, 4, 7, 10, 11, 8, 5, 2], P0-I11
- Nono, Luigi: La terra e la compagna (sketch), Series 5, [0, 7, 2, 4, 9, 10, 5, 1, 6, 11, 8, 3], P0-I3
- Nono, Luigi: La terra e la compagna (sketch), Series 7, [0, 5, 3, 10, 7, 1, 8, 9, 2, 6, 11, 4], P0-I9
- Nono, Luigi: La terra e la compagna (sketch), Series 8, [0, 4, 5, 11, 3, 6, 10, 2, 7, 9, 1, 8], P0-I1
- Nono, Luigi: Sarà dolce tacere, [0, 10, 5, 3, 8, 6, 1, 11, 4, 2, 9, 7], P0-I7
- Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 2, [0, 3, 6, 9, 11, 2, 5, 8, 10, 1, 4, 7], P0-I7
- Papaioannou, Yannis: Songs of the Lake, No.1, [0, 8, 5, 7, 6, 11, 2, 10, 1, 3, 9, 4], P0-I9
- Papaioannou, Yannis: Songs of the Lake, No.2, [0, 7, 4, 6, 5, 1, 9, 2, 8, 10, 3, 11], P0-I3
- Papaioannou, Yannis: Songs of the Lake, No.4, [0, 5, 11, 9, 6, 10, 7, 2, 3, 1, 4, 8], P0-I1
- Papaioannou, Yannis: Suite, "XP", [0, 4, 2, 1, 6, 8, 3, 9, 7, 10, 5, 11], P0-I11
- Papaioannou, Yannis: Suite, "YP", [0, 10, 9, 8, 1, 4, 5, 7, 3, 6, 2, 11], P0-I3
- Pentland, Barbara: String Quartet, No.3, [0, 11, 3, 6, 5, 9, 10, 8, 1, 2, 7, 4], P0-I1,7
- Perle, George: First string quartet, [0, 1, 3, 6, 10, 9, 8, 7, 4, 5, 11, 2], P0-I5
- Pousseur, Henri: Trois Chants Sacrés, [0, 10, 11, 4, 1, 5, 9, 6, 3, 7, 2, 8], P0-I7
- Preßl, Hermann Markus: 'A 5' für Bassklarinette, Vibraphon und drei Bratschen, [0, 6, 5, 8, 10, 7, 3, 2, 4, 9, 1, 11], P0-I9
- Preßl, Hermann Markus: Finstersonnen, [0, 3, 9, 6, 11, 5, 1, 2, 7, 8, 10, 4], P0-I1,7
- Pärt, Arvo: Perpetuum Mobile, [0, 11, 10, 5, 6, 9, 7, 1, 2, 8, 3, 4], P0-I1
- Pärt, Arvo: Symphony, No.1, [0, 1, 2, 7, 6, 3, 5, 11, 10, 4, 9, 8], P0-I11
- Reynolds, Roger: Ambages, [0, 1, 4, 5, 7, 6, 8, 9, 10, 11, 2, 3], P0-I3
- Rochberg, George: String Quartet, No.2 with soprano solo, [0, 11, 6, 5, 1, 2, 8, 7, 3, 4, 9, 10], P0-I9
- Santoro, Claudio: Peças para Piano, [0, 11, 4, 5, 1, 9, 2, 3, 7, 8, 6, 10], P0-I7
- Santoro, Claudio: Preludes 18-20, [0, 9, 1, 3, 2, 8, 10, 4, 6, 5, 7, 11], P0-I7
- Santoro, Claudio: Six Piano Pieces, [0, 10, 4, 1, 11, 2, 5, 6, 3, 9, 7, 8], P0-I7
- Schnittke, Alfred: Concerto Grosso, No.1, mvt 2, [0, 11, 2, 1, 8, 7, 10, 9, 6, 5, 4, 3], P0-I5
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 7, [0, 3, 11, 9, 10, 1, 4, 2, 7, 8, 5, 6], P0-I5
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 1, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7], P0-I7
- Schnittke, Alfred: Concerto Grosso, No.3, [0, 5, 1, 4, 10, 8, 11, 9, 3, 6, 2, 7], P0-I7
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 1, [0, 3, 6, 10, 2, 11, 8, 5, 9, 1, 4, 7], P0-I7
- Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, new row, [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], P0-I5
- Schnittke, Alfred: Viola Concerto, [0, 11, 5, 2, 1, 6, 3, 8, 7, 4, 10, 9], P0-I9
- Schnittke, Alfred: Violin Sonata 2, [0, 10, 11, 9, 6, 8, 7, 5, 4, 1, 2, 3], P0-I1
- Schoenberg, Arnold: A Survivor From Warsaw, Op.46, [0, 1, 6, 2, 10, 9, 5, 4, 11, 3, 7, 8], P0-I5
- Schoenberg, Arnold: A Survivor From Warsaw, Op.46 (alternative), [0, 1, 6, 2, 10, 9, 4, 7, 3, 8, 11, 5], P0-I5
- Schoenberg, Arnold: Accompaniment to a Film Scene, Op.34, [0, 3, 11, 1, 10, 9, 6, 8, 7, 5, 2, 4], P0-I5
- Schoenberg, Arnold: Fantasy for Piano Four Hands, II (fragment), [0, 3, 6, 1, 7, 8, 2, 5, 11, 4, 10, 9], P0-I5
- Schoenberg, Arnold: Fantasy for Violin and Piano, Op.47, [0, 11, 3, 1, 7, 9, 5, 6, 2, 4, 10, 8], P0-I5
- Schoenberg, Arnold: Five Piano Pieces, Op.23, No.5, [0, 8, 10, 6, 7, 5, 9, 1, 3, 2, 11, 4], P0-I9
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.1, Op.27, No.1, [0, 11, 8, 2, 1, 7, 9, 10, 4, 3, 5, 6], P0-I5
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.2, Op.27, No.2, [0, 11, 4, 10, 2, 8, 3, 7, 6, 5, 9, 1], P0-I5
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.4, Op.27, No.4, [0, 2, 9, 5, 7, 3, 10, 11, 1, 8, 4, 6], P0-I1
- Schoenberg, Arnold: Moses und Aron, [0, 1, 7, 5, 6, 4, 10, 8, 9, 11, 2, 3], P0-I3
- Schoenberg, Arnold: Piano Concerto, Op.42, [0, 7, 11, 2, 1, 9, 3, 5, 10, 6, 8, 4], P0-I5
- Schoenberg, Arnold: Prelude To A Suite From "Genesis", Op.44, [0, 8, 4, 7, 6, 2, 1, 10, 3, 5, 11, 9], P0-I5
- Schoenberg, Arnold: Serenade, mvt 5, "Tanzscene", Op.24, [0, 1, 3, 6, 7, 9, 8, 10, 11, 2, 4, 5], P0-I5,11
- Schoenberg, Arnold: Six Pieces for Male Chorus, No.1, Op.35, [0, 9, 1, 3, 2, 11, 6, 8, 7, 4, 10, 5], P0-I7
- Schoenberg, Arnold: Six Pieces for Male Chorus, No.2, Op.35, [0, 3, 1, 7, 6, 8, 11, 5, 4, 9, 10, 2], P0-I5
- Schoenberg, Arnold: Six Pieces for Male Chorus, No.5, Op.35, [0, 6, 9, 1, 2, 10, 7, 3, 11, 5, 4, 8], P0-I5
- Schoenberg, Arnold: Sonata For Organ, [0, 6, 10, 2, 8, 1, 7, 5, 9, 4, 11, 3], P0-I5
- Schoenberg, Arnold: String Quartet, No.4, Op.37, [0, 11, 7, 8, 3, 1, 2, 10, 6, 5, 4, 9], P0-I5
- Schoenberg, Arnold: String Trio, Op.45, [0, 8, 1, 7, 2, 11, 9, 6, 4, 5, 3, 10], P0-I5
- Schoenberg, Arnold: Suite for Piano, Op.25, [0, 1, 3, 9, 2, 11, 4, 10, 7, 8, 5, 6], P0-I7
- Schoenberg, Arnold: Three Satires for Mixed Chorus, No.3, Op.28, No.3, [0, 1, 11, 3, 9, 5, 2, 4, 10, 6, 8, 7], P0-I7
- Schoenberg, Arnold: Three Songs, No.2, "Tot", Op.48, [0, 1, 7, 11, 8, 2, 6, 5, 10, 9, 3, 4], P0-I5
- Schoenberg, Arnold: Three Times a Thousand Years, Op.50a, [0, 2, 11, 9, 10, 4, 3, 7, 5, 6, 8, 1], P0-I5
- Schoenberg, Arnold: Two Piano Pieces, No.1, Op.33a, [0, 7, 2, 1, 11, 8, 3, 5, 9, 10, 4, 6], P0-I5
- Schoenberg, Arnold: Two Piano Pieces, No.2, Op.33b, [0, 2, 6, 4, 10, 9, 7, 11, 8, 5, 1, 3], P0-I5
- Schoenberg, Arnold: Variations for Orchestra, Op.31, [0, 6, 8, 5, 7, 11, 4, 3, 9, 10, 1, 2], P0-I9
- Schoenberg, Arnold: Violin Concerto, Op.36, [0, 1, 6, 2, 7, 9, 3, 4, 10, 11, 5, 8], P0-I5
- Schoenberg, Arnold: Violin Phantasy, Op.47, [0, 11, 3, 1, 7, 9, 6, 2, 10, 5, 8, 4], P0-I5
- Schoenberg, Arnold: Von Heute Auf Morgen, Op.32, [0, 1, 7, 11, 9, 3, 6, 5, 2, 10, 8, 4], P0-I5
- Schoenberg, Arnold: Wind Quintet, Op.26, [0, 4, 6, 8, 10, 9, 7, 11, 1, 3, 5, 2], P0-I11
- Schuller, Gunther: Transformation, [0, 2, 4, 3, 8, 11, 9, 6, 5, 10, 7, 1], P0-I9
- Schwantner, Joseph: Modus Caelestis (m. 39), [0, 6, 11, 10, 5, 9, 4, 8, 3, 2, 7, 1], P0-I1
- Schwantner, Joseph: Wild Angels of the Open Hills, 2, "Angels of the Shadowed Ancient Land," m. 21, [0, 8, 9, 11, 3, 7, 6, 5, 2, 4, 10, 1], P0-I1
- Searle, Humphrey: Toccata alla Passacaglia, Op.31, [0, 5, 6, 1, 10, 7, 9, 8, 3, 2, 4, 11], P0-I9
- Seiber, Mátyás: Concert Piece for Violin and Piano, [0, 1, 7, 6, 11, 10, 4, 5, 9, 8, 2, 3], P0-I3
- Seiber, Mátyás: Sonata for Violin and Piano, [0, 1, 11, 10, 7, 6, 8, 9, 4, 3, 5, 2], P0-I3
- Sengstschmid, Johann: Meditation für Orgel, Op.43a, [0, 6, 3, 1, 10, 8, 5, 2, 11, 9, 7, 4], P0-I5
- Sessions, Roger: Piano Sonata, No.3, mvt 2, [0, 1, 5, 4, 8, 2, 11, 10, 6, 7, 3, 9], P0-I11
- Sessions, Roger: When Lilacs Last in the Dooryard Bloom'd, [0, 2, 4, 10, 5, 8, 9, 1, 11, 7, 6, 3], P0-I11
- Shapey, Ralph: String Quartet, No.9, [0, 8, 9, 3, 5, 1, 2, 6, 4, 10, 11, 7], P0-I7
- Shostakovich, Dmitri: Symphony, No.14, mov. I, [0, 11, 9, 4, 3, 10, 8, 7, 5, 6, 1, 2], P0-I5
- Slonimsky, Nicholas: No. 1217a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 11, 6, 1, 8, 4, 9, 2, 7], P0-I7
- Slonimsky, Nicholas: No. 1224a Sixths (Twelve-Tone Patterns), [0, 9, 6, 3, 7, 10, 1, 4, 8, 5, 2, 11], P0-I11
- Slonimsky, Nicholas: No. 1238a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 9, 7, 5, 3, 2, 4, 6, 8, 1, 10, 11], P0-I1
- Slonimsky, Nicholas: No. 1241a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals), [0, 9, 6, 3, 11, 5, 2, 8, 7, 10, 1, 4], P0-I1,7
- Slonimsky, Nicholas: No. 1252a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 2, 6, 8, 11, 4], P0-I9
- Slonimsky, Nicholas: No. 1252b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 10, 6, 2, 11, 7, 4, 1, 9], P0-I7
- Slonimsky, Nicholas: No. 1254a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 8, 11, 3, 6, 9, 1], P0-I1
- Slonimsky, Nicholas: No. 1254b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 1, 10, 6, 4, 11, 7, 5, 2, 9], P0-I5
- Slonimsky, Nicholas: No. 1255a [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 2, 5, 8, 11, 3], P0-I3,9
- Slonimsky, Nicholas: No. 1255b [Slonimsky: Moto Perpetuo] Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 9, 6, 5, 1, 10, 7, 4, 11], P0-I1,7
- Slonimsky, Nicholas: No. 1258a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 1, 5, 8, 11, 4], P0-I11
- Slonimsky, Nicholas: No. 1258b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 2, 10, 6, 4, 1, 9], P0-I9
- Slonimsky, Nicholas: No. 1259a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 1, 5, 7, 10, 3], P0-I9
- Slonimsky, Nicholas: No. 1259b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 2, 10, 7, 5, 1, 9, 6, 3, 11], P0-I1
- Slonimsky, Nicholas: No. 1260a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 1, 5, 8, 11, 3], P0-I3
- Slonimsky, Nicholas: No. 1260b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 2, 10, 6, 5, 1, 9, 7, 4, 11], P0-I7
- Slonimsky, Nicholas: No. 1263a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 1, 4, 8, 11, 5], P0-I11
- Slonimsky, Nicholas: No. 1263b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 11, 7, 6, 2, 9, 4, 1, 10], P0-I9
- Slonimsky, Nicholas: No. 1265 Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], P0-I11
- Slonimsky, Nicholas: No. 1265a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 10, 2, 5, 8, 11], P0-I11
- Slonimsky, Nicholas: No. 1265b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 3, 1, 10, 6, 4, 11, 7, 5, 2, 8], P0-I5
- Slonimsky, Nicholas: No. 1266a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 11, 4, 7, 10, 1], P0-I1
- Slonimsky, Nicholas: No. 1266b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 3, 2, 11, 6, 5, 1, 8, 7, 4, 10], P0-I7
- Slonimsky, Nicholas: No. 1267a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 4, 8, 11, 5, 6, 9, 2], P0-I9
- Slonimsky, Nicholas: No. 1267b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 4, 1, 10, 7, 5, 2, 8, 6, 3, 11], P0-I3
- Slonimsky, Nicholas: No. 1273a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 5, 9, 6, 2, 11, 8, 4], P0-I9
- Slonimsky, Nicholas: No. 1273b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 1, 2, 6, 9, 8, 4, 11], P0-I9
- Slonimsky, Nicholas: No. 1275a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 5, 9, 6, 1, 11, 8, 3], P0-I1
- Slonimsky, Nicholas: No. 1275b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 2, 1, 6, 9, 8, 3, 11], P0-I1
- Slonimsky, Nicholas: No. 1276a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 6, 9, 5, 2, 11, 8, 3], P0-I3,9
- Slonimsky, Nicholas: No. 1276b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 1, 2, 5, 9, 8, 3, 11], P0-I3,9
- Slonimsky, Nicholas: No. 1279a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 5, 1, 11, 8, 4], P0-I11
- Slonimsky, Nicholas: No. 1279b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 5, 9, 8, 4, 11], P0-I11
- Slonimsky, Nicholas: No. 1280a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 6, 9, 5, 1, 10, 7, 3], P0-I9
- Slonimsky, Nicholas: No. 1280b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 6, 2, 5, 9, 1, 10, 7, 3], P0-I9
- Slonimsky, Nicholas: No. 1281a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 2, 6, 9, 5, 1, 11, 8, 3], P0-I3
- Slonimsky, Nicholas: No. 1281b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 2, 1, 5, 9, 8, 3, 11], P0-I3
- Slonimsky, Nicholas: No. 1284a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 6, 9, 4, 1, 11, 8, 5], P0-I11
- Slonimsky, Nicholas: No. 1284b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 2, 1, 4, 9, 8, 5, 11], P0-I11
- Slonimsky, Nicholas: No. 1286a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 4, 7, 2, 10, 8, 5, 11], P0-I11
- Slonimsky, Nicholas: No. 1286b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 4, 1, 10, 2, 7, 8, 5, 11], P0-I11
- Slonimsky, Nicholas: No. 1287a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 2, 5, 8, 4, 11, 10, 7, 1], P0-I1
- Slonimsky, Nicholas: No. 1287b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 5, 2, 11, 4, 8, 7, 1, 10], P0-I1
- Slonimsky, Nicholas: No. 1288a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 4, 8, 5, 11, 9, 6, 2], P0-I9
- Slonimsky, Nicholas: No. 1288b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 4, 1, 11, 5, 8, 6, 2, 9], P0-I9
- Slonimsky, Nicholas: No. 258 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 11, 10, 9, 4, 3, 2, 1, 8, 7, 6, 5], P0-I5
- Slonimsky, Nicholas: No. 270 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 9, 7, 4, 2, 1, 11, 8, 6, 5, 3], P0-I3
- Slonimsky, Nicholas: No. 277 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 7, 5, 4, 2, 11, 9, 8, 6, 3, 1], P0-I1
- Slonimsky, Nicholas: No. 370 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 7, 1, 6, 4, 11, 5, 10, 8, 3, 9, 2], P0-I9
- Slonimsky, Nicholas: No. 388 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], P0-I5
- Slonimsky, Nicholas: No. 389 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], P0-I11
- Slonimsky, Nicholas: No. 390 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 3, 9, 6, 4, 7, 1, 10, 8, 11, 5, 2], P0-I5
- Slonimsky, Nicholas: No. 391 Miscellaneous Patterns [Diminished Seventh Chords] (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 9, 3, 6, 4, 1, 7, 10, 8, 5, 11, 2], P0-I11
- Slonimsky, Nicholas: No. 638 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 9, 10, 4, 3, 1, 2, 8, 7, 5, 6], P0-I5
- Slonimsky, Nicholas: No. 641 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 7, 6, 5, 4, 8, 9, 10, 11], P0-I11
- Slonimsky, Nicholas: No. 643 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1], P0-I11
- Slonimsky, Nicholas: No. 644 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 6, 7, 8, 9, 10, 11, 5, 4, 3, 2, 1], P0-I11
- Slonimsky, Nicholas: No. 692 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 3, 5, 8, 10, 11, 1, 4, 6, 7, 9], P0-I9
- Slonimsky, Nicholas: No. 698 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 5, 7, 8, 10, 1, 3, 4, 6, 9, 11], P0-I11
- Slonimsky, Nicholas: No. 736 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 2, 7, 9, 8, 10, 3, 5, 4, 6, 11, 1], P0-I1
- Slonimsky, Nicholas: No. 813 Interpolation of Three Notes (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 3, 6, 9, 10, 1, 4, 7, 8, 11, 2, 5], P0-I5
- Slonimsky, Nicholas: No. 909 Infra-Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 9, 3, 6, 5, 2, 8, 11, 10, 7, 1, 4], P0-I1
- Spinner, Leopold: Concert for Piano and Orchestra, Op.4, [0, 2, 1, 9, 11, 3, 4, 7, 5, 6, 10, 8], P0-I7
- Spinner, Leopold: Ouverture for Orchestra, Op.5, [0, 11, 2, 10, 8, 1, 7, 5, 6, 9, 3, 4], P0-I5
- Spinner, Leopold: Quintet, Op.14, [0, 6, 4, 2, 8, 5, 1, 9, 10, 11, 7, 3], P0-I3
- Spinner, Leopold: Ricercata, Op.21, [0, 11, 8, 10, 2, 1, 4, 3, 7, 9, 6, 5], P0-I5
- Spinner, Leopold: Sonata for Piano, Op.3, [0, 9, 8, 6, 7, 10, 1, 4, 5, 3, 2, 11], P0-I11
- Spinner, Leopold: Sonata for Violin and Piano, Op.1, [0, 7, 6, 1, 3, 8, 5, 10, 2, 9, 4, 11], P0-I5
- Spinner, Leopold: String Quartet, Op.2, [0, 1, 7, 6, 11, 10, 4, 5, 8, 9, 3, 2], P0-I3
- Spinner, Leopold: Trio for Violin, Cello, and Piano, Op.6, [0, 1, 7, 4, 10, 9, 6, 5, 11, 8, 2, 3], P0-I3
- Spinner, Leopold: Variations for Violin and Piano, Op.19, [0, 8, 9, 1, 2, 4, 3, 5, 6, 10, 11, 7], P0-I7
- Spinner, Leopold: Zwei Lieder, Op.24, [0, 11, 1, 4, 3, 7, 5, 6, 9, 8, 10, 2], P0-I9
- Stockhausen, Karlheinz: Choral, [0, 1, 10, 6, 8, 3, 5, 2, 4, 11, 9, 7], P0-I5
- Stockhausen, Karlheinz: Klavierstück IV row 3, [0, 7, 1, 10, 11, 9, 5, 8, 4, 3, 2, 6], P0-I3
- Stockhausen, Karlheinz: Licht, Eve formula, [0, 4, 3, 2, 5, 6, 10, 11, 9, 1, 7, 8], P0-I1
- Stockhausen, Karlheinz: Plus-Minus, [0, 1, 7, 9, 8, 6, 3, 10, 2, 5, 11, 4], P0-I11
- Stockhausen, Karlheinz: Tierkreis, Aries, [0, 3, 2, 9, 7, 8, 11, 6, 1, 5, 4, 10], P0-I1
- Stockhausen, Karlheinz: Tierkreis, Sagittarius, [0, 6, 5, 2, 3, 4, 7, 8, 9, 10, 11, 1], P0-I1
- Stravinsky, Igor: A Sermon, a Narrative and a Prayer, [0, 1, 9, 11, 10, 7, 8, 3, 4, 6, 5, 2], P0-I3
- Stravinsky, Igor: Canticum Sacrum, II, [0, 11, 9, 6, 10, 8, 7, 5, 2, 4, 3, 1], P0-I1
- Stravinsky, Igor: Elegy for J.F.K., [0, 6, 4, 2, 8, 9, 3, 1, 11, 10, 7, 5], P0-I7
- Stravinsky, Igor: Introitus "T. S. Eliot in Memoriam", [0, 5, 6, 4, 8, 9, 3, 2, 1, 10, 11, 7], P0-I7
- Stravinsky, Igor: Requiem Canticles, 1st series, [0, 2, 10, 11, 1, 8, 6, 7, 9, 4, 3, 5], P0-I5
- Stravinsky, Igor: Variations "Aldous Huxley in Memoriam", [0, 10, 7, 9, 2, 8, 6, 11, 1, 5, 4, 3], P0-I1
- Talma, Louise: Piano Sonata 2, mvt 4, first row, [0, 4, 8, 2, 5, 10, 1, 11, 6, 9, 7, 3], P0-I11
- Talma, Louise: Six Etudes, Etude 1, [0, 3, 6, 8, 10, 2, 5, 7, 9, 1, 11, 4], P0-I7
- Talma, Louise: Six Etudes, Etude 5, [0, 4, 6, 11, 8, 3, 9, 1, 5, 7, 2, 10], P0-I1
- Talma, Louise: Six Etudes, Etude 6, [0, 8, 6, 9, 4, 5, 2, 1, 3, 10, 7, 11], P0-I7
- Toufektsis, Orestis: MIKRO-ALLAXI (EpiEnteka II), für 15 Musiker, [0, 8, 3, 7, 2, 4, 10, 11, 1, 6, 9, 5], P0-I1
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 1A, [0, 10, 9, 1, 4, 8, 7, 2, 5, 11, 3, 6], P0-I3
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 3, [0, 10, 8, 4, 3, 6, 5, 11, 9, 1, 2, 7], P0-I5
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 5, [0, 4, 3, 10, 6, 9, 1, 5, 2, 8, 11, 7], P0-I5,11
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 7, [0, 2, 11, 8, 5, 3, 10, 9, 1, 7, 6, 4], P0-I9
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 8, [0, 4, 3, 11, 6, 8, 2, 9, 10, 7, 1, 5], P0-I1
- Tranchell, Peter: Septet : [for] 2 violins, oboe, clarinet, horn, bassoon, cello : fifth dodecafonia, [0, 2, 1, 10, 3, 4, 11, 6, 5, 9, 8, 7], P0-I9
- Tranchell, Peter: Twice a Kiss sketch 1, [0, 9, 1, 2, 4, 8, 5, 7, 10, 6, 3, 11], P0-I7
- Tranchell, Peter: Twice a Kiss sketch 2, [0, 9, 1, 2, 4, 8, 3, 11, 5, 6, 7, 10], P0-I7
- Tranchell, Peter: Twice a Kiss sketch 3, [0, 1, 2, 4, 8, 9, 7, 5, 3, 6, 10, 11], P0-I7
- Urbanner, Erich: Adagio, [0, 3, 1, 11, 10, 9, 8, 7, 6, 4, 2, 5], P0-I5
- Volkonsky, Andrei: Musica Stricta, mvt 2, row A, [0, 6, 8, 9, 11, 10, 1, 7, 2, 3, 5, 4], P0-I1
- Volkonsky, Andrei: Musica Stricta, mvt 2, row D, [0, 4, 9, 2, 8, 10, 11, 1, 3, 7, 5, 6], P0-I3
- Volkonsky, Andrei: Musica Stricta, mvt 4, row G, [0, 6, 5, 4, 3, 2, 1, 11, 9, 10, 8, 7], P0-I1
- Volkonsky, Andrei: Musica Stricta, mvt 4, row H, [0, 6, 4, 9, 8, 2, 7, 1, 11, 5, 10, 3], P0-I7
- Wang, Xi-Lin: A Dilapidated Tombstone, [0, 4, 6, 3, 2, 10, 11, 5, 8, 9, 7, 1], P0-I11
- Weber, Ben: Five Bagatelles for Piano, Op.2, mvt ii, [0, 1, 2, 9, 6, 7, 4, 8, 5, 11, 10, 3], P0-I5
- Weber, Ben: Humoreske, Op.49, [0, 2, 4, 5, 7, 10, 1, 11, 9, 8, 6, 3], P0-I1
- Webern, Anton: Op.32 (un-finished), initial sketch, [0, 1, 9, 11, 3, 2, 7, 6, 10, 8, 4, 5], P0-I7
- Webern, Anton: 3 Volkstexte, "Liebste Jungfrau", Op.17, No.2, [0, 11, 10, 6, 7, 1, 2, 5, 4, 3, 8, 9], P0-I3
- Webern, Anton: Cantata I, Op.29, [0, 8, 11, 10, 2, 1, 4, 3, 7, 6, 9, 5], P0-I5
- Webern, Anton: Klavierstück, [0, 1, 2, 11, 10, 4, 5, 6, 9, 8, 7, 3], P0-I7
- Webern, Anton: Quartet for Violin, Clarinet, Tenor Sax, And Piano, Op.22, [0, 9, 8, 11, 10, 2, 3, 4, 5, 7, 1, 6], P0-I3
- Webern, Anton: String Quartet, Op.28, [0, 11, 2, 1, 5, 6, 3, 4, 8, 7, 10, 9], P0-I9
- Webern, Anton: String Trio, Op.20, [0, 11, 6, 5, 10, 9, 1, 2, 7, 8, 4, 3], P0-I1
- Webern, Anton: Three Songs on Texts by Hildegard Jone, Op.25, [0, 9, 8, 11, 6, 10, 7, 4, 3, 5, 2, 1], P0-I1
- Wilson, Olly: Piece for Four', [0, 8, 9, 4, 2, 6, 7, 11, 10, 3, 5, 1], P0-I7
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 10, [0, 10, 1, 11, 4, 2, 5, 3, 8, 6, 9, 7], P0-I7
- Wuorinen, Charles: Piano Concerto, No.3, [0, 5, 2, 1, 11, 3, 10, 9, 4, 6, 8, 7], P0-I9
- Wuorinen, Charles: Reliquary for Igor Stravinsky, [0, 11, 7, 5, 6, 8, 2, 4, 9, 3, 1, 10], P0-I9
- Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 1, [0, 4, 2, 6, 5, 8, 7, 9, 3, 1, 10, 11], P0-I3
- Yun, Isang: Funf Stücke für Klavier, Stück 1, Row 2, [0, 11, 10, 4, 2, 1, 3, 6, 5, 9, 7, 8], P0-I7
- Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 1, [0, 11, 1, 9, 10, 7, 5, 6, 8, 2, 3, 4], P0-I3
- Yun, Isang: Funf Stücke für Klavier, Stück 3, Row 2, [0, 4, 2, 8, 5, 6, 7, 9, 3, 11, 10, 1], P0-I3
- Yun, Isang: Funf Stücke für Klavier, Stück 4, [0, 1, 7, 8, 11, 3, 4, 9, 5, 2, 6, 10], P0-I5
- Yun, Isang: Funf Stücke für Klavier, Stück 5, [0, 11, 6, 3, 2, 10, 9, 1, 5, 4, 8, 7], P0-I7
- Yun, Isang: Gasa, [0, 11, 7, 8, 6, 5, 2, 9, 10, 1, 3, 4], P0-I9
- Yun, Isang: Riul für Klarinette und Klavier, [0, 5, 6, 9, 8, 4, 3, 7, 1, 2, 11, 10], P0-I7
- Zappa, Frank: Brown Shoes Don't Make It, [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6], P0-I7
- Zappa, Frank: Waltz, [0, 11, 3, 2, 9, 1, 7, 8, 4, 10, 5, 6], P0-I7
- Zenk, Ludwig: An einen Springbrunnnen, Op.6, No.1, [0, 2, 3, 7, 6, 10, 9, 1, 5, 11, 4, 8], P0-I11
- Zenk, Ludwig: Piano Sonata, Op.1, [0, 1, 8, 4, 6, 5, 2, 10, 9, 3, 11, 7], P0-I3
- hauer, Josef Matthias: Zwölftonspiel für Oechester. 28. 9. 1954, [0, 5, 7, 4, 6, 1, 9, 3, 8, 11, 10, 2], P0-I3
Retrograde Inversion Combinatorial
These rows are combinatorial by retrograde inversion.
- Argento, Dominick: Evensong: Of Love and Angels, [0, 11, 9, 8, 5, 3, 4, 1, 2, 7, 10, 6], P0-RI8
- Bennett, Richard Rodney: Symphony, [0, 2, 9, 8, 3, 5, 6, 1, 7, 11, 10, 4], P0-RI5
- Berg, Alban: Chamber Concerto, mvts 2, 3, [0, 11, 10, 4, 5, 9, 7, 1, 2, 6, 8, 3], P0-RI9
- Berg, Alban: Lyric Suite, mvt I, m.7-9, [0, 3, 7, 8, 2, 1, 9, 6, 4, 11, 5, 10], P0-RI3
- Carter, Elliott: String Quartet, No.3, [0, 11, 2, 9, 5, 3, 4, 8, 10, 7, 1, 6], P0-RI2
- Copland, Aaron: Connotations, row 1, [0, 1, 3, 6, 2, 9, 8, 5, 10, 4, 11, 7], P0-RI3
- Copland, Aaron: Connotations, row 2, [0, 7, 9, 6, 2, 3, 8, 11, 10, 4, 5, 1], P0-RI9
- Copland, Aaron: Piano Fantasy, [0, 7, 2, 10, 8, 3, 6, 4, 11, 9, 1, 5], P0-RI10
- Cordero, Roque: Concerto for Violin, mvt 2B, [0, 5, 3, 11, 6, 8, 7, 2, 1, 4, 9, 10], P0-RI11
- Cordero, Roque: Sonata breve, [0, 1, 4, 11, 10, 7, 5, 8, 9, 6, 3, 2], P0-RI11
- Dallapiccola, Luigi: Due studi, 'Fanfare', [0, 1, 7, 9, 10, 3, 4, 2, 8, 11, 6, 5], P0-RI10
- Dallapiccola, Luigi: Preghiere, [0, 11, 2, 3, 8, 9, 7, 6, 1, 5, 4, 10], P0-RI11
- Dallapiccola, Luigi: Quattro liriche di Antonio Machado, ii, [0, 1, 4, 6, 7, 9, 10, 11, 2, 3, 5, 8], P0-RI1
- Dallapiccola, Luigi: Tre poemi, [0, 8, 9, 6, 3, 1, 2, 11, 7, 5, 4, 10], P0-RI9
- David, Johann Nepomuk: Symphony, No.8, Op.59, [0, 5, 9, 2, 6, 11, 3, 4, 7, 8, 10, 1], P0-RI11
- Denisov, Edison: Five Etudes for Solo Bassoon, row G, [0, 11, 5, 10, 4, 3, 9, 8, 2, 1, 6, 7], P0-RI3
- Dobbins, Bill: Concerto for Jazz Orchestra, [0, 9, 7, 4, 3, 1, 10, 11, 8, 6, 5, 2], P0-RI4
- Eisler, Hanns: >Spruch< for voice and piano, [0, 3, 11, 9, 5, 8, 4, 1, 2, 10, 7, 6], P0-RI8
- Eisler, Hanns: An den Schlaf, [0, 8, 2, 10, 11, 5, 6, 1, 9, 3, 7, 4], P0-RI10
- Eisler, Hanns: Chamber Symphony / Film music for "White Flood", row 1, [0, 1, 2, 3, 11, 7, 6, 5, 9, 8, 10, 4], P0-RI2
- Eisler, Hanns: Chamber Symphony / Film music for "White Flood", row 2, [0, 8, 2, 10, 11, 5, 6, 1, 4, 9, 7, 3], P0-RI10
- Eisler, Hanns: Deutsche Symphonie, mvt 4, [0, 10, 5, 6, 11, 7, 1, 4, 2, 8, 9, 3], P0-RI5
- Eisler, Hanns: Deutsche Symphonie, mvt 7, [0, 11, 8, 5, 2, 1, 4, 3, 10, 7, 6, 9], P0-RI1
- Eisler, Hanns: Deutsche Symphonie, mvts 2, 6, [0, 3, 11, 9, 5, 8, 4, 7, 6, 2, 1, 10], P0-RI8
- Eisler, Hanns: Five Pieces for Orchestra, mvt 1, [0, 6, 2, 3, 10, 9, 11, 5, 8, 7, 1, 4], P0-RI12
- Eisler, Hanns: Five Pieces for Orchestra, mvt 2, [0, 2, 3, 1, 11, 7, 5, 4, 8, 10, 9, 6], P0-RI2
- Eisler, Hanns: Palmström, Op.5, No.4, [0, 11, 2, 8, 3, 9, 6, 7, 10, 1, 4, 5], P0-RI11
- Eisler, Hanns: Sonata for Piano, No.2 ("in Form von Variationen"), Op.6, row variant 4, [0, 4, 3, 2, 9, 6, 10, 1, 7, 5, 8, 11], P0-RI6
- Eröd, Ivan: Die Seidenraupen, [0, 4, 6, 3, 1, 10, 8, 11, 9, 5, 2, 7], P0-RI4
- Florey, Hans: 'Die Blume der Blumen' für Gesang und Viola, [0, 3, 4, 8, 9, 6, 1, 7, 10, 11, 2, 5], P0-RI12
- Florey, Hans: 'Fort, fort sind meine Rosen' für Gesang und Instrument, [0, 7, 6, 3, 5, 9, 2, 10, 8, 4, 1, 11], P0-RI12
- Florey, Hans: Grabgesang, [0, 2, 8, 5, 10, 11, 4, 1, 6, 3, 9, 7], P0-RI10
- Florey, Hans: Griechisch-lateinisches Quadrat der Ordnung 4 mit Fuge in Klangnotation, [0, 9, 3, 7, 4, 10, 2, 6, 1, 8, 11, 5], P0-RI7
- Florey, Hans: Kleiner Doppelkanon, [0, 4, 6, 3, 8, 9, 7, 2, 1, 5, 11, 10], P0-RI12
- Florey, Hans: Magisches Quadrat der Ordnung 3, [0, 4, 6, 3, 8, 9, 7, 2, 1, 5, 11, 10], P0-RI12
- Frankel, Benjamin: The Curse of the Werewolf, [0, 3, 2, 1, 4, 8, 11, 5, 10, 7, 6, 9], P0-RI4
- Gerhard, Roberto: Concerto for Harpsichord, String Orchestra, and Percussion, [0, 2, 8, 7, 11, 5, 1, 4, 3, 6, 9, 10], P0-RI7
- Gerhard, Roberto: Gemini, [0, 11, 3, 1, 5, 4, 8, 6, 7, 2, 9, 10], P0-RI4
- Gerhard, Roberto: Leo, [0, 2, 1, 6, 5, 7, 3, 8, 9, 10, 4, 11], P0-RI7
- Gerhard, Roberto: Nonet, [0, 11, 1, 3, 5, 4, 10, 8, 2, 7, 9, 6], P0-RI4
- Gerhard, Roberto: Symphony, No.2, [0, 8, 1, 7, 5, 6, 10, 11, 2, 3, 9, 4], P0-RI1
- Ginastera, Alberto: Cantata para América Mágica, Op.27, [0, 7, 6, 5, 10, 11, 8, 1, 2, 9, 4, 3], P0-RI5
- Ginastera, Alberto: Piano Concerto, No.1, Op.28, [0, 11, 5, 1, 8, 2, 7, 6, 10, 4, 9, 3], P0-RI1
- Ginastera, Alberto: String Quartet, No.2, Op.26, [0, 5, 11, 2, 8, 1, 9, 10, 7, 4, 3, 6], P0-RI1
- Goehr, Alexander: Little Symphony, Op.15, [0, 3, 7, 10, 6, 4, 5, 2, 9, 8, 11, 1], P0-RI10
- Goehr, Alexander: Sonata in One Movement, Op.2, [0, 2, 7, 1, 4, 10, 6, 9, 11, 8, 5, 3], P0-RI2
- Harrison, Lou: Suite for Piano, [0, 1, 6, 2, 5, 7, 11, 4, 9, 8, 10, 3], P0-RI7
- Harrison, Lou: Untitled Piano Piece, [0, 10, 4, 3, 9, 7, 2, 8, 6, 1, 11, 5], P0-RI7
- Hauer, Josef Matthias: 'Kaleidoskop' für Orchester, [0, 9, 6, 7, 3, 8, 2, 4, 11, 1, 5, 10], P0-RI3
- Hauer, Josef Matthias: 'Musik für Schule und Haus II' 22. September 1956. für Violine, Bratsche und Klavier, [0, 7, 8, 1, 6, 5, 10, 2, 11, 9, 3, 4], P0-RI1
- Hauer, Josef Matthias: Labyrinthischer Tanz [Zwölftonspiel] für Klavier zu vier Händen. 16. November 1952, [0, 3, 8, 7, 2, 10, 6, 1, 11, 9, 4, 5], P0-RI10
- Hauer, Josef Matthias: Nomos, [0, 5, 7, 3, 9, 6, 11, 2, 8, 4, 1, 10], P0-RI12
- Hauer, Josef Matthias: Nomos, Op.19 (bb.1-36), [0, 5, 7, 3, 9, 6, 11, 2, 8, 4, 1, 10], P0-RI12
- Hauer, Josef Matthias: Nomos, Op.19 (bb.101-102), [0, 7, 4, 2, 1, 10, 9, 11, 8, 6, 3, 5], P0-RI2
- Hauer, Josef Matthias: Nomos, Op.19 (bb.129-130), [0, 9, 10, 4, 3, 7, 6, 2, 1, 8, 11, 5], P0-RI7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.131-132), [0, 9, 8, 2, 11, 3, 6, 5, 10, 7, 4, 1], P0-RI11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.133-134), [0, 8, 5, 11, 2, 7, 4, 6, 3, 1, 10, 9], P0-RI7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.141-142), [0, 5, 3, 4, 1, 11, 2, 6, 8, 9, 10, 7], P0-RI4
- Hauer, Josef Matthias: Nomos, Op.19 (bb.194-195), [0, 4, 2, 3, 6, 9, 5, 1, 8, 7, 11, 10], P0-RI6
- Hauer, Josef Matthias: Nomos, Op.19 (bb.198-201), [0, 8, 9, 11, 3, 5, 6, 1, 2, 7, 10, 4], P0-RI8
- Hauer, Josef Matthias: Nomos, Op.19 (bb.202-203), [0, 1, 3, 10, 7, 9, 2, 11, 4, 6, 8, 5], P0-RI10
- Hauer, Josef Matthias: Nomos, Op.19 (bb.208-212), [0, 9, 7, 2, 5, 1, 10, 6, 11, 4, 3, 8], P0-RI2
- Hauer, Josef Matthias: Nomos, Op.19 (bb.215-219), [0, 3, 8, 2, 6, 5, 4, 1, 10, 11, 9, 7], P0-RI8
- Hauer, Josef Matthias: Nomos, Op.19 (bb.255-257), [0, 7, 2, 6, 5, 10, 3, 4, 11, 8, 1, 9], P0-RI12
- Hauer, Josef Matthias: Nomos, Op.19 (bb.301-305), [0, 10, 2, 9, 8, 1, 5, 6, 11, 3, 7, 4], P0-RI10
- Hauer, Josef Matthias: Nomos, Op.19 (bb.337-338), [0, 1, 11, 5, 4, 3, 8, 9, 2, 10, 6, 7], P0-RI4
- Hauer, Josef Matthias: Nomos, Op.19 (bb.348-353), [0, 11, 9, 5, 10, 4, 6, 8, 3, 2, 1, 7], P0-RI9
- Hauer, Josef Matthias: Nomos, Op.19 (bb.395-402), [0, 2, 7, 10, 6, 5, 8, 9, 11, 3, 1, 4], P0-RI12
- Hauer, Josef Matthias: Nomos, Op.19 (bb.411-414), [0, 2, 8, 3, 5, 6, 7, 4, 9, 10, 1, 11], P0-RI8
- Hauer, Josef Matthias: Nomos, Op.19 (bb.467-471), [0, 5, 9, 1, 7, 2, 10, 4, 11, 8, 3, 6], P0-RI2
- Hauer, Josef Matthias: Nomos, Op.19 (bb.471-472), [0, 3, 11, 1, 6, 9, 2, 8, 5, 7, 10, 4], P0-RI12
- Hauer, Josef Matthias: Nomos, Op.19 (bb.473-474), [0, 6, 9, 1, 3, 11, 8, 4, 5, 7, 10, 2], P0-RI12
- Hauer, Josef Matthias: Nomos, Op.19 (bb.490-494), [0, 5, 11, 6, 9, 2, 8, 7, 10, 4, 1, 3], P0-RI11
- Hauer, Josef Matthias: Nomos, Op.19 (bb.496-498), [0, 10, 9, 4, 3, 7, 5, 8, 1, 2, 6, 11], P0-RI7
- Hauer, Josef Matthias: Nomos, Op.19 (bb.498-501), [0, 3, 1, 10, 7, 6, 2, 11, 8, 5, 4, 9], P0-RI1
- Hauer, Josef Matthias: Nomos, Op.19 (bb.525-527), [0, 10, 3, 9, 7, 1, 11, 2, 6, 4, 8, 5], P0-RI10
- Hauer, Josef Matthias: Nomos, Op.19 (bb.64-67), [0, 6, 9, 11, 8, 5, 4, 3, 1, 2, 7, 10], P0-RI5
- Hauer, Josef Matthias: Nomos, Op.19 (bb.82-83), [0, 2, 11, 8, 5, 10, 9, 1, 7, 3, 4, 6], P0-RI10
- Hauer, Josef Matthias: Nomos, Op.19 (bb.87-90), [0, 1, 11, 9, 8, 7, 10, 6, 4, 3, 5, 2], P0-RI8
- Hauer, Josef Matthias: Nomos, Op.19 (bb.91-92), [0, 4, 10, 1, 2, 7, 6, 8, 5, 9, 11, 3], P0-RI2
- Hauer, Josef Matthias: Tanz [Zwölftonspiel] im langsamen 3/4 Takt für zwei Violinen, zwei Bratschen und Klavier zu zwei Händen, [0, 9, 3, 7, 4, 10, 2, 6, 1, 8, 11, 5], P0-RI7
- Hauer, Josef Matthias: Tanz für Violine allein, [0, 7, 3, 4, 10, 9, 2, 8, 11, 1, 6, 5], P0-RI7
- Hauer, Josef Matthias: Zwölftonmusik [Zwölftonspiel] für Klavier zu vier Händen. Februar 1959 (Fragment), [0, 9, 3, 7, 4, 10, 2, 6, 1, 8, 11, 5], P0-RI7
- Hauer, Josef Matthias: Zwölftonmusik für Orchester, Op.86, [0, 2, 6, 3, 11, 8, 10, 9, 5, 7, 1, 4], P0-RI2
- Hauer, Josef Matthias: Zwölftonspiel 15. Juni 1957; für Flöte, Oboe, Bassklarinette, Fagott, 2 Violinen, Viola, Violoncello & Klavier vierhändig, [0, 8, 11, 6, 9, 5, 7, 1, 3, 2, 4, 10], P0-RI5
- Hauer, Josef Matthias: Zwölftonspiel 28. August 1948; für Violine und Klavier, [0, 9, 6, 2, 3, 10, 8, 5, 4, 7, 11, 1], P0-RI12
- Hauer, Josef Matthias: Zwölftonspiel 31. August 1948; für Violine (Flöte) und Klavier, [0, 9, 6, 2, 3, 10, 8, 5, 4, 7, 11, 1], P0-RI12
- Hauer, Josef Matthias: Zwölftonspiel 31. August 1948; für Violine und Klavier; 2. Fassung, [0, 9, 6, 2, 3, 10, 8, 5, 4, 7, 11, 1], P0-RI12
- Hauer, Josef Matthias: Zwölftonspiel März 1958; für Kammerorchester, [0, 5, 10, 4, 1, 7, 2, 11, 8, 3, 6, 9], P0-RI5
- Hauer, Josef Matthias: Zwölftonspiel November 1957; für zwei Violinen und Klavier, [0, 6, 3, 9, 1, 5, 11, 8, 10, 7, 2, 4], P0-RI6
- Hauer, Josef Matthias: Zwölftonspiel für Klavier. September 1956, [0, 8, 11, 6, 3, 5, 1, 10, 7, 4, 2, 9], P0-RI11
- Hauer, Josef Matthias: Zwölftonspiel für Klavier zu zwei Händen. Neujahr 1947 (mit einer Zwölftonreihe von Ernst Hartmann), [0, 10, 6, 3, 7, 4, 9, 2, 8, 11, 1, 5], P0-RI10
- Hauer, Josef Matthias: Zwölftonspiel für Orchester (August 1957), [0, 9, 4, 6, 11, 3, 2, 8, 5, 1, 7, 10], P0-RI3
- Hauer, Josef Matthias: Zwölftonspiel für Streichquartett, [0, 3, 7, 2, 9, 6, 4, 10, 1, 8, 11, 5], P0-RI9
- Hauer, Josef Matthias: Zwölftonspiel für Violine und Cembalo [Klavier]. 27. August 1948, [0, 9, 6, 2, 3, 10, 8, 5, 4, 7, 11, 1], P0-RI12
- Hauer, Josef Matthias: Zwölftonspiel für Violine und Klavier. 2. September 1956, [0, 6, 8, 1, 10, 5, 9, 3, 11, 4, 7, 2], P0-RI6
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche, Cello und Klavier, [0, 6, 9, 11, 4, 3, 7, 5, 2, 8, 10, 1], P0-RI3
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, Bratsche und Cello. Jänner 1948, [0, 1, 7, 2, 11, 3, 8, 5, 6, 4, 9, 10], P0-RI2
- Hauer, Josef Matthias: [Zwölftonspiel] 'Johann Sebastian Bach hat das Wohltemperierte Klavier im Himmel vollendet ...', [0, 10, 5, 4, 2, 9, 8, 1, 3, 11, 6, 7], P0-RI2
- Hendler, Maximilian: Vier Miniaturen für Klarinette, Op.51, [0, 3, 5, 11, 8, 6, 10, 2, 4, 1, 9, 7], P0-RI11
- Husa, Karel: Hudba pro Prahu 1968, [0, 8, 2, 1, 7, 9, 6, 10, 3, 11, 5, 4], P0-RI9
- Husa, Karel: Mosaïques, [0, 6, 4, 3, 2, 9, 10, 5, 7, 8, 11, 1], P0-RI6
- Ives, Charles: String Quartet, No.2, mvt 2, [0, 1, 2, 11, 3, 7, 10, 4, 6, 8, 9, 5], P0-RI2
- Kokkonen, Joonas: Symphonic Sketches, mov. 3, row "III/A", [0, 2, 1, 3, 8, 7, 5, 6, 4, 11, 9, 10], P0-RI3
- Kurtág, György: The Sayings of Péter Bornemisza, Op.7, [0, 11, 7, 8, 9, 1, 2, 10, 3, 4, 5, 6], P0-RI8
- Lackner, Peter: 'Lied des Harfenmädchens' für Frauenstimme und Klavier, [0, 3, 5, 11, 7, 10, 1, 8, 4, 9, 6, 2], P0-RI10
- Lackner, Peter: 'Lied des Harfenmädchens II' für Flöte, Klarinette, Posaune, Violine, Cello und Klavier, [0, 3, 5, 11, 7, 10, 1, 8, 4, 9, 6, 2], P0-RI10
- Lackner, Peter: 'So lebe wohl' für Singstimme und Klavier, [0, 2, 3, 8, 10, 7, 6, 5, 1, 11, 9, 4], P0-RI10
- Lackner, Peter: Kanon 'kgV(3,5,7)', [0, 3, 10, 9, 6, 5, 2, 11, 4, 8, 1, 7], P0-RI3
- Lackner, Peter: Kanon für Bläsersextett. Mai 1995,1996, [0, 9, 7, 3, 10, 1, 6, 8, 2, 11, 5, 4], P0-RI10
- Lackner, Peter: Kanon für Schrammel-Quartett. November 2002, [0, 4, 6, 3, 11, 9, 1, 5, 8, 2, 10, 7], P0-RI3
- Lackner, Peter: Kanon für Streichquartett. 18. Mai 1993, [0, 11, 4, 7, 1, 10, 5, 6, 2, 3, 9, 8], P0-RI11
- Lackner, Peter: Kanon für Violine, Violoncello und Akkordeon (Harmonium). 25. Oktober 1995, [0, 2, 1, 7, 6, 5, 3, 4, 10, 9, 11, 8], P0-RI7
- Lang, Bernhard: 'Küstenlinien'; für zwei Klaviere und doppeltes Schlagwerk, [0, 9, 7, 4, 5, 11, 2, 1, 8, 10, 3, 6], P0-RI4
- Lutyens, Elisabeth: O Saisons, O Châteaux!, [0, 11, 10, 4, 8, 9, 3, 7, 6, 5, 2, 1], P0-RI8
- Lutyens, Elisabeth: The Valley of Hatsu'se, [0, 6, 11, 10, 8, 7, 9, 1, 3, 2, 4, 5], P0-RI6
- Lutyens, Elisabeth: Three Improvisations for Piano Solo, [0, 6, 9, 7, 8, 3, 4, 1, 10, 5, 11, 2], P0-RI3
- Maderna, Bruno: Quartetto, [0, 7, 2, 3, 6, 9, 10, 1, 4, 5, 8, 11], P0-RI9
- Maderna, Bruno: Streichquartett (Basisreihe 1), [0, 7, 2, 3, 6, 9, 10, 1, 4, 5, 8, 11], P0-RI9
- Maderna, Bruno: Streichquartett (Basisreihe 2), [0, 7, 10, 1, 6, 3, 11, 4, 9, 2, 5, 8], P0-RI1
- Mamlok, Ursula: Five Intermezzi for guitar solo, [0, 3, 6, 11, 2, 5, 1, 10, 7, 4, 8, 9], P0-RI5
- Mamlok, Ursula: Variations for Solo Flute, theme, [0, 2, 1, 11, 7, 3, 5, 6, 4, 10, 8, 9], P0-RI2
- Martino, Donald: Notturno (Row A), [0, 11, 10, 2, 6, 1, 5, 9, 4, 8, 3, 7], P0-RI12
- Messiaen, Olivier: Mode de valeurs et d'intensités, Series 3, [0, 11, 6, 4, 3, 9, 5, 2, 8, 1, 7, 10], P0-RI3
- Morris, Robert: 14 Little Piano Pieces, [0, 5, 1, 9, 10, 11, 2, 7, 3, 4, 6, 8], P0-RI10
- Morris, Robert: Arabesque, [0, 6, 7, 1, 3, 10, 8, 9, 4, 5, 11, 2], P0-RI1
- Morris, Robert: Arc, [0, 1, 8, 2, 4, 3, 11, 10, 6, 7, 5, 9], P0-RI4
- Morris, Robert: Broken Consort in Three Parts, Row 3, [0, 11, 3, 9, 7, 6, 10, 5, 1, 2, 4, 8], P0-RI6
- Morris, Robert: Brush, [0, 11, 6, 10, 7, 8, 3, 2, 5, 4, 9, 1], P0-RI6
- Morris, Robert: Concerto for Piano and Winds, [0, 1, 4, 7, 8, 10, 11, 2, 5, 6, 9, 3], P0-RI8
- Morris, Robert: Four Fold Heart Sutra, [0, 6, 7, 2, 11, 1, 10, 4, 9, 5, 8, 3], P0-RI1
- Morris, Robert: Four Play Nine, [0, 3, 2, 1, 8, 7, 10, 5, 4, 11, 6, 9], P0-RI3
- Morris, Robert: Four or Five Mirrors, [0, 11, 2, 3, 7, 1, 6, 5, 9, 8, 10, 4], P0-RI2
- Morris, Robert: In Variations, [0, 2, 9, 11, 5, 3, 4, 6, 10, 8, 7, 1], P0-RI2
- Morris, Robert: Inter Alia, [0, 1, 11, 5, 3, 4, 9, 10, 8, 2, 7, 6], P0-RI4
- Morris, Robert: MA, [0, 1, 5, 6, 4, 11, 8, 7, 9, 2, 10, 3], P0-RI5
- Morris, Robert: On the Go, [0, 9, 2, 3, 5, 8, 10, 11, 1, 4, 7, 6], P0-RI5
- Morris, Robert: Out and Out, [0, 11, 6, 3, 7, 9, 5, 8, 1, 2, 10, 4], P0-RI6
- Morris, Robert: Sung Song, [0, 3, 7, 6, 9, 2, 10, 5, 1, 8, 4, 11], P0-RI9
- Morris, Robert: Zoe, [0, 8, 6, 3, 1, 9, 7, 10, 4, 2, 5, 11], P0-RI9
- Musgrave, Thea: Triptych, Song 1, [0, 11, 9, 6, 5, 2, 10, 1, 8, 7, 3, 4], P0-RI11
- Nierhaus, Gerhard: 'Polg' - für Orchester, [0, 3, 1, 7, 11, 2, 10, 4, 8, 5, 9, 6], P0-RI2
- Nono, Luigi: Intolleranza, Soprano 2, [0, 1, 2, 7, 6, 11, 10, 5, 4, 9, 8, 3], P0-RI1
- Nono, Luigi: La terra e la compagna (sketch), Series 4, [0, 2, 9, 5, 6, 8, 3, 11, 1, 10, 4, 7], P0-RI2
- Papageorgiou, Dimitri: 'Jarra Jarra' for six block flutes, [0, 5, 3, 2, 6, 8, 7, 11, 1, 10, 9, 4], P0-RI8
- Papaioannou, Yannis: Pygmalion, [0, 2, 7, 5, 8, 11, 9, 6, 10, 3, 1, 4], P0-RI7
- Papaioannou, Yannis: Songs of the Lake, No.3, [0, 11, 8, 1, 6, 7, 2, 10, 3, 4, 9, 5], P0-RI7
- Papaioannou, Yannis: Suite, Basic row, [0, 1, 3, 10, 4, 6, 9, 5, 2, 8, 7, 11], P0-RI4
- Payne, Antony: Miniature Variations on a Theme of E.L., [0, 6, 11, 10, 8, 7, 9, 1, 3, 2, 4, 5], P0-RI6
- Preßl, Hermann Markus: 'Sonnenuntergänge nach meinem Tode'; Fünf Haikus nach Günther Klinge für Sprechgesang, Alt-Saxophon und Crotales, [0, 4, 7, 9, 8, 2, 6, 10, 5, 11, 1, 3], P0-RI4
- Preßl, Hermann Markus: 6. Symphonie aus Es, [0, 6, 1, 7, 5, 8, 9, 11, 3, 2, 4, 10], P0-RI1
- Preßl, Hermann Markus: Ithaka, [0, 9, 7, 10, 6, 4, 2, 5, 8, 3, 1, 11], P0-RI4
- Ruggles, Carl: Evocations II (Series X), [0, 1, 7, 2, 8, 9, 11, 10, 5, 6, 4, 3], P0-RI9
- Santoro, Claudio: A Menina Boba, "A Menina Exausta", [0, 5, 10, 7, 3, 11, 1, 8, 2, 9, 6, 4], P0-RI10
- Schiske, Karl: Symphony, No.4, [0, 8, 11, 3, 2, 6, 1, 9, 4, 5, 7, 10], P0-RI2
- Schmid, Erich: Bagatellen for Piano, Op.14, [0, 1, 5, 2, 6, 7, 4, 8, 10, 3, 9, 11], P0-RI7
- Schmid, Erich: Notturno, Op.10, mvt 1, [0, 4, 6, 3, 9, 8, 5, 11, 1, 2, 10, 7], P0-RI12
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 5, [0, 1, 7, 10, 4, 11, 5, 6, 9, 8, 2, 3], P0-RI11
- Schnittke, Alfred: Improvisation and Fugue for piano, [0, 8, 11, 3, 9, 2, 5, 7, 6, 10, 1, 4], P0-RI11
- Schnittke, Alfred: Serenade, [0, 1, 7, 3, 10, 9, 8, 6, 5, 11, 4, 2], P0-RI10
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 3, [0, 4, 7, 11, 2, 6, 9, 10, 1, 5, 8, 3], P0-RI6
- Schnittke, Alfred: Sonata, No.1 for Violin and Piano, mvt 4, [0, 4, 7, 3, 6, 10, 9, 5, 1, 2, 8, 11], P0-RI10
- Schoenberg, Arnold: Die Jakobsleiter, [0, 1, 4, 3, 7, 6, 11, 2, 10, 9, 5, 8], P0-RI7
- Schreiner, Thomas: Stück für drei Violinen, [0, 2, 1, 7, 4, 10, 9, 6, 8, 5, 3, 11], P0-RI2
- Sengstschmid, Johann: Scherzo für Blockflötenquartett, Op.28, [0, 7, 9, 4, 6, 1, 8, 2, 11, 5, 3, 10], P0-RI1
- Slonimsky, Nicholas: No. 1243a Crossing Sixths (Crossing Intervals), [0, 1, 9, 4, 6, 7, 3, 10, 11, 2, 8, 5], P0-RI1
- Slonimsky, Nicholas: No. 1249a Crossing Thirds (Crossing Intervals), [0, 11, 3, 8, 6, 5, 9, 2, 1, 10, 4, 7], P0-RI11
- Slonimsky, Nicholas: No. 1251a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 2, 5, 8, 11, 4], P0-RI1
- Slonimsky, Nicholas: No. 1251b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 5, 3, 11, 6, 2, 10, 7, 4, 1, 9], P0-RI11
- Slonimsky, Nicholas: No. 1253a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 11, 3, 6, 9, 2], P0-RI5
- Slonimsky, Nicholas: No. 1253b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 1, 9, 6, 4, 11, 7, 5, 2, 10], P0-RI9
- Slonimsky, Nicholas: No. 1261a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 5, 9, 1, 6, 7, 10, 3], P0-RI4
- Slonimsky, Nicholas: No. 1261b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 1, 10, 7, 5, 2, 9, 6, 3, 11], P0-RI8
- Slonimsky, Nicholas: No. 1262a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 3, 6, 11, 2, 8, 9, 1, 5], P0-RI10
- Slonimsky, Nicholas: No. 1262b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 5, 3, 11, 8, 4, 1, 7, 6, 2, 10], P0-RI8
- Slonimsky, Nicholas: No. 1264a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 5, 8, 11, 4, 7, 10, 2], P0-RI6
- Slonimsky, Nicholas: No. 1264b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 3, 2, 10, 6, 5, 1, 8, 7, 4, 11], P0-RI12
- Slonimsky, Nicholas: No. 1268a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 11, 2, 6, 9, 3], P0-RI5
- Slonimsky, Nicholas: No. 1268b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 3, 1, 9, 6, 4, 10, 7, 5, 2, 11], P0-RI9
- Slonimsky, Nicholas: No. 1272a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 1, 6, 9, 5, 2, 11, 8, 4], P0-RI1
- Slonimsky, Nicholas: No. 1272b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 6, 1, 2, 5, 9, 8, 4, 11], P0-RI1
- Slonimsky, Nicholas: No. 1274a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 9, 6, 2, 11, 8, 3], P0-RI5
- Slonimsky, Nicholas: No. 1274b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 1, 2, 6, 9, 8, 3, 11], P0-RI5
- Slonimsky, Nicholas: No. 1282a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 2, 5, 9, 6, 1, 10, 7, 3], P0-RI4
- Slonimsky, Nicholas: No. 1282b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 5, 2, 6, 9, 1, 10, 7, 3], P0-RI4
- Slonimsky, Nicholas: No. 1283a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 3, 6, 8, 2, 11, 9, 5, 1], P0-RI10
- Slonimsky, Nicholas: No. 1283b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 6, 3, 11, 2, 8, 5, 1, 9], P0-RI10
- Slonimsky, Nicholas: No. 1285a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 1, 5, 8, 4, 11, 10, 7, 2], P0-RI6
- Slonimsky, Nicholas: No. 1285b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 6, 9, 5, 1, 11, 4, 8, 7, 2, 10], P0-RI6
- Slonimsky, Nicholas: No. 1289a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 1, 5, 8, 2, 11, 9, 6, 3], P0-RI5
- Slonimsky, Nicholas: No. 1289b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 7, 10, 5, 1, 11, 2, 8, 9, 6, 3], P0-RI5
- Slonimsky, Nicholas: No. 262 Infrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 11, 10, 5, 4, 3, 2, 9, 8, 7, 6, 1], P0-RI3
- Slonimsky, Nicholas: No. 348 Infra-Inter-Ultrapolation (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 10, 1, 7, 4, 2, 5, 11, 8, 6, 9, 3], P0-RI2
- Slonimsky, Nicholas: No. 647 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 2, 11, 5, 8, 10, 7, 1, 4, 6, 3, 9], P0-RI10
- Slonimsky, Nicholas: No. 685 Interpolation of Three Notes (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 1, 3, 6, 8, 9, 11, 2, 4, 5, 7, 10], P0-RI9
- Slonimsky, Nicholas: No. 735 Inter-Infra-Ultrapolation (Quadritone Progression; Equal Division of Two Octaves into Three Parts), [0, 6, 9, 11, 8, 2, 5, 7, 4, 10, 1, 3], P0-RI8
- Smith, Hale: Evocation, [0, 1, 7, 2, 9, 5, 8, 3, 10, 11, 4, 6], P0-RI2
- Spinner, Leopold: Die Nacht, Op.29, [0, 4, 1, 2, 5, 6, 7, 10, 8, 9, 11, 3], P0-RI6
- Spinner, Leopold: Drei Lieder, Op.15, [0, 2, 3, 9, 6, 10, 8, 4, 7, 5, 1, 11], P0-RI12
- Spinner, Leopold: Lieder for Voice, Clarinet, Violin, and Cello, [0, 7, 6, 3, 11, 9, 2, 1, 4, 8, 10, 5], P0-RI6
- Spinner, Leopold: Suite for Clarinet and Piano, Op.10, [0, 4, 1, 6, 5, 2, 8, 10, 7, 9, 11, 3], P0-RI6
- Stockhausen, Karlheinz: 'Mantra', [0, 2, 11, 7, 8, 5, 10, 6, 4, 3, 1, 9], P0-RI7
- Stockhausen, Karlheinz: Klavierstück IV, row 1, [0, 11, 4, 10, 9, 5, 8, 6, 2, 1, 7, 3], P0-RI9
- Stockhausen, Karlheinz: Tierkreis, Aquarius, [0, 3, 5, 4, 11, 10, 9, 8, 7, 6, 2, 1], P0-RI3
- Stockhausen, Karlheinz: Tierkreis, Leo, [0, 5, 11, 6, 3, 2, 8, 7, 9, 10, 4, 1], P0-RI5
- Stravinsky, Igor: The Owl and the Pussy Cat, [0, 2, 9, 11, 8, 6, 5, 7, 10, 1, 4, 3], P0-RI8
- Talma, Louise: Seven Episodes for flute, viola and piano, [0, 9, 11, 4, 6, 3, 8, 1, 10, 2, 5, 7], P0-RI3
- Talma, Louise: Six Etudes, Etude 2, [0, 3, 9, 5, 11, 2, 8, 4, 10, 6, 1, 7], P0-RI2
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 4, [0, 7, 6, 1, 3, 4, 2, 11, 9, 5, 10, 8], P0-RI7
- Tranchell, Peter: Piano piece for Carl Dawson (unfinished), 6, [0, 8, 3, 6, 4, 9, 10, 5, 7, 1, 11, 2], P0-RI12
- Volkonsky, Andrei: Musica Stricta, mvt 2, row C, [0, 10, 11, 9, 4, 5, 7, 2, 1, 3, 6, 8], P0-RI9
- Volkonsky, Andrei: Musica Stricta, mvt 3, row F, [0, 1, 9, 3, 5, 6, 7, 11, 10, 8, 4, 2], P0-RI6
- Walker, George: Spatials, [0, 3, 9, 11, 2, 8, 7, 5, 4, 1, 10, 6], P0-RI11
- Weber, Ben: Five Bagatelles for Piano, Op.2, mvt v, [0, 9, 1, 8, 2, 7, 3, 5, 6, 4, 11, 10], P0-RI9
- Webern, Anton: 3 Lieder, "Ave, Regina Coelorum", Op.18, No.3, [0, 11, 3, 2, 1, 7, 6, 10, 9, 8, 5, 4], P0-RI2
- Webern, Anton: 3 Volkstexte, "Armer Sunder, Du", Op.17, No.1, [0, 11, 6, 7, 4, 5, 8, 9, 10, 1, 2, 3], P0-RI11
- Yi, Chen: Near Distance, [0, 1, 10, 3, 4, 6, 8, 9, 11, 5, 7, 2], P0-RI4
- Yi, Chen: Symphony, No.2, [0, 6, 2, 3, 7, 9, 10, 4, 5, 11, 8, 1], P0-RI9
- Yi, Chen: Woodwind Quintet, [0, 11, 1, 7, 9, 8, 10, 4, 6, 5, 2, 3], P0-RI8
- Zenk, Ludwig: Abend in Lans, Op.3, No.2, [0, 1, 6, 4, 5, 2, 7, 8, 3, 10, 11, 9], P0-RI6
- Zenk, Ludwig: Adagio for Orchestra, [0, 3, 11, 8, 6, 2, 7, 5, 9, 4, 1, 10], P0-RI2
- Zenk, Ludwig: Piano Sonata, No.2, Op.4, [0, 11, 6, 8, 7, 10, 5, 4, 9, 2, 1, 3], P0-RI6
All-Combinatorial
Finally, rows are all-combinatorial when the combinatorial property holds for all transformations in at least one transposition. Notice how the whole-tone hexachord [0,2,4,6,8,10] (in any ordering) stands out for its highly combinatorial properties.
- Apostel, Hans Erich: Fischerhaus-Serenade, Op.45, [0, 4, 8, 3, 11, 7, 1, 9, 5, 2, 10, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: All Set, [0, 4, 5, 11, 6, 10, 7, 3, 1, 2, 9, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: Arie da Capo, [0, 7, 8, 6, 2, 1, 10, 5, 11, 9, 4, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: Composition for Four Instruments, [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Composition for Four Instruments, row i, [0, 10, 9, 8, 7, 5, 11, 1, 2, 3, 4, 6], T6; I11; RI5, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Composition for Four Instruments, row ii, [0, 9, 11, 2, 4, 1, 7, 10, 8, 5, 3, 6], T6; I7; RI1, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Composition for Four Instruments, row iii, [0, 4, 3, 8, 7, 11, 5, 1, 2, 9, 10, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Four Instruments, row iv, [0, 4, 1, 8, 5, 9, 3, 11, 2, 7, 10, 6], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Synthesizer, [0, 9, 1, 8, 4, 5, 7, 2, 3, 6, 10, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Tenor and Six Instruments, [0, 11, 7, 5, 6, 1, 4, 3, 10, 8, 2, 9], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: Composition for Twelve Instruments, [0, 1, 4, 9, 5, 8, 3, 10, 2, 11, 6, 7], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Composition for Viola and Piano, [0, 3, 4, 8, 11, 7, 9, 2, 1, 5, 10, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Du, row i, [0, 9, 2, 10, 11, 1, 7, 5, 4, 8, 3, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Du, row ii, [0, 5, 2, 10, 9, 7, 1, 3, 4, 8, 11, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Babbitt, Milton: Groupwise, [0, 5, 4, 6, 10, 11, 2, 9, 3, 1, 8, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: My Complements to Roger, [0, 3, 7, 8, 11, 4, 2, 6, 1, 9, 10, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: My Ends Are My Beginnings, [0, 11, 4, 8, 7, 3, 5, 6, 9, 2, 10, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Paraphrases, [0, 11, 3, 10, 8, 1, 7, 5, 4, 6, 2, 9], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Partitions, [0, 7, 9, 10, 2, 11, 5, 8, 4, 3, 1, 6], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Relata I, [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Relata II, [0, 1, 11, 2, 10, 3, 9, 8, 4, 6, 7, 5], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: Semi-simple variations, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: String Quartet, No.2, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Babbitt, Milton: String Quartet, No.3, [0, 11, 6, 7, 5, 1, 10, 2, 9, 3, 4, 8], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: String Quartet, No.4, [0, 2, 9, 7, 11, 10, 1, 8, 4, 3, 5, 6], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Tableaux, [0, 11, 4, 6, 10, 5, 2, 1, 7, 9, 8, 3], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Babbitt, Milton: The Widow's Lament in Springtime, [0, 11, 9, 2, 10, 7, 1, 4, 8, 3, 5, 6], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Three Compositions for Piano, No.1, [0, 5, 7, 4, 2, 3, 9, 1, 8, 11, 10, 6], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Two Sonnets of Gerard Manley Hopkins, [0, 2, 3, 4, 7, 5, 11, 6, 10, 9, 8, 1], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Babbitt, Milton: Vision and Prayer, [0, 11, 8, 3, 7, 4, 10, 9, 2, 6, 1, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Babbitt, Milton: Woodwind Quartet, [0, 3, 1, 2, 11, 10, 8, 9, 5, 7, 6, 4], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Baker, David: “Status Symbol” from "The Black Experience", [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Barber, Samuel: Piano Sonata, Op.26, [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Berg, Alban: Altenberg Lieder, [0, 1, 11, 10, 2, 9, 3, 8, 7, 6, 5, 4], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Berg, Alban: Lulu, Primary / Main / Basic Row, [0, 4, 5, 2, 7, 9, 6, 8, 11, 10, 3, 1], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Berg, Alban: Lulu, Schigolch, [0, 2, 3, 1, 4, 5, 6, 7, 8, 9, 11, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Berg, Alban: Lulu, whole-tone row, [0, 2, 4, 6, 10, 8, 11, 7, 9, 1, 3, 5], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Berg, Alban: Lyric Suite, Primary Row / mvt I, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Berg, Alban: Lyric Suite, mvt I, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Berg, Alban: Lyric Suite, mvt VI, [0, 2, 4, 7, 9, 11, 6, 8, 10, 1, 3, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Berg, Alban: Schliesse mir die Augen Beide, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Berio, Luciano: Cinque Variazioni, [0, 2, 4, 1, 3, 5, 8, 10, 6, 7, 9, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Berio, Luciano: Sequenza I, [0, 11, 10, 9, 8, 7, 4, 6, 5, 3, 1, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Boulez, Pierre: Le Marteau sans Maître, cycle of Bourreaux de solitude, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Boulez, Pierre: Notations, [0, 2, 7, 6, 1, 8, 4, 9, 5, 11, 10, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Britten, Benjamin: The Turn of the Screw, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Carter, Elliott: String Quartet, No.2 (sketch) 1, [0, 4, 8, 3, 7, 11, 6, 10, 2, 9, 1, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Carter, Elliott: String Quartet, No.2 (sketch) 2, [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Carter, Elliott: String Quartet, No.2 (sketch) 3, [0, 2, 4, 6, 8, 10, 1, 3, 5, 7, 9, 11], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Denisov, Edison: Concerto for Guitar and Orchestra, Row 1, [0, 6, 10, 4, 8, 2, 3, 9, 1, 7, 11, 5], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Denisov, Edison: Five Etudes for Solo Bassoon, row B, [0, 11, 6, 5, 4, 10, 9, 3, 2, 7, 1, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row C, [0, 6, 11, 5, 4, 10, 9, 3, 2, 7, 1, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row E, [0, 1, 7, 6, 5, 11, 10, 4, 3, 8, 2, 9], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row I, [0, 6, 1, 7, 2, 8, 3, 10, 5, 11, 9, 4], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Five Etudes for Solo Bassoon, row J, [0, 6, 5, 11, 4, 10, 9, 3, 2, 7, 1, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Denisov, Edison: Octet for Winds, mvt 2, row A, [0, 1, 3, 2, 4, 5, 8, 7, 6, 11, 9, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Denisov, Edison: Octet for Winds, mvt 2, row B, [0, 6, 11, 5, 4, 10, 9, 3, 2, 8, 1, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Eisler, Hanns: Der Zweck der Musik, [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Eisler, Hanns: Deutsche Symphonie, mvt 8, [0, 3, 1, 11, 2, 10, 8, 9, 6, 7, 5, 4], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Five Pieces for Orchestra, mvt 3, [0, 3, 2, 1, 5, 4, 6, 9, 8, 11, 10, 7], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Gegen den Krieg, Op.55, [0, 3, 2, 5, 4, 7, 6, 8, 9, 10, 1, 11], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Eisler, Hanns: Man lebt von einem Tage zu dem andern ("Kantate im Exil"), [0, 10, 11, 3, 1, 8, 7, 4, 2, 6, 9, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Eisler, Hanns: Palmström, Op.5, No.5, [0, 10, 11, 9, 8, 1, 7, 6, 5, 3, 4, 2], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Praeludium und Fuge über B-A-C-H for String Trio, Op.46, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Eisler, Hanns: Suite for Orchestra, No.1, mvt 4, [0, 4, 2, 3, 1, 11, 7, 10, 9, 8, 6, 5], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Evans, Bill: Twelve Tone Tune, [0, 10, 2, 3, 1, 11, 4, 6, 9, 8, 5, 7], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Fine, Vivian: Chaconne for piano, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Finney, Ross Lee: Fantasy in Two Movements for solo violin, [0, 1, 3, 5, 4, 2, 11, 10, 8, 6, 7, 9], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Finney, Ross Lee: Sonata Quasi una Fantasia, [0, 1, 3, 2, 4, 5, 6, 7, 9, 8, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Gerhard, Roberto: Chaconne for Unaccompanied Violin, [0, 11, 4, 2, 1, 3, 9, 10, 8, 6, 5, 7], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Gerhard, Roberto: Libra, [0, 6, 1, 7, 2, 8, 4, 9, 5, 10, 11, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Gerhard, Roberto: The Plague, [0, 1, 9, 11, 8, 10, 4, 5, 6, 2, 3, 7], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Gielen, Michael: Six Songs, for bass, violin, viola, clarinet, bass clarinet, and piano, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 1, [0, 1, 6, 7, 8, 2, 10, 11, 5, 4, 9, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 2, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 5, [0, 1, 7, 6, 5, 11, 2, 8, 9, 10, 4, 3], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Don Rodrigo, Op.31, Row Class 7, [0, 1, 8, 2, 7, 6, 5, 11, 9, 10, 4, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Quintet, Op.29, Row Class V, [0, 5, 4, 7, 3, 2, 6, 9, 8, 1, 10, 11], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Ginastera, Alberto: Quintet, Op.29, Row Class VII S, [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Sonata for Cello and Piano, Op.49, [0, 3, 2, 1, 10, 11, 8, 9, 5, 4, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class III, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 1, [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 4, [0, 2, 1, 5, 3, 4, 7, 8, 6, 10, 9, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 6, [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Ginastera, Alberto: Sonata for Guitar, Op.47, mvts II and III, Row Class II 7, [0, 9, 10, 11, 8, 7, 6, 3, 4, 5, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Ginastera, Alberto: Turbae ad Passionem Gregorianam, Op.43, mvt II, [0, 5, 1, 7, 6, 11, 8, 2, 3, 4, 9, 10], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Ginastera, Alberto: Violin Concerto, Op.30, [0, 11, 2, 3, 4, 1, 6, 5, 8, 9, 10, 7], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Hartmann, Karl Amadeus: Symphony, No.4, [0, 1, 3, 2, 11, 4, 5, 10, 7, 6, 8, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.139-141), [0, 2, 10, 1, 11, 9, 8, 5, 6, 4, 7, 3], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.143-145), [0, 9, 10, 2, 1, 11, 4, 6, 7, 5, 8, 3], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.331-334), [0, 4, 3, 2, 1, 11, 7, 10, 5, 6, 8, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.362-365), [0, 7, 5, 3, 10, 8, 4, 2, 9, 6, 11, 1], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
- Hauer, Josef Matthias: Nomos, Op.19 (bb.503-507), [0, 10, 1, 2, 3, 5, 7, 11, 4, 8, 9, 6], T6; I9; RI3, (0, 2, 3, 4, 5, 7)
- Hauer, Josef Matthias: XXIX. Zwölftonspiel für Cembalo; mit der Sokolowski-Reihe zu Bachs Geburtstag, [0, 11, 2, 1, 4, 3, 10, 5, 8, 9, 6, 7], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Hauer, Josef Matthias: Zwölftonspiel für zwei Violinen, [0, 2, 3, 11, 1, 10, 8, 6, 4, 9, 7, 5], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.13, [0, 3, 5, 7, 8, 10, 9, 6, 4, 2, 1, 11], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.19, [0, 1, 4, 5, 8, 9, 11, 10, 7, 6, 3, 2], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.28, [0, 5, 7, 8, 9, 10, 11, 6, 4, 3, 2, 1], T6; I11; RI5, (0, 2, 3, 4, 5, 7)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.30, [0, 1, 2, 6, 7, 8, 11, 10, 9, 5, 4, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.6, [0, 2, 4, 6, 8, 10, 9, 7, 5, 3, 1, 11], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Hendler, Maximilian: 'Die vollständige Ordnung der symmetrischen zwölftönigen Modi', No.1, [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Hendler, Maximilian: aus den fünf Liedern nach Texten von Karl Hans Haysen für Singstimme und Klavier : 'Erkenntnis', Op.45-2, [0, 9, 2, 4, 7, 11, 8, 10, 5, 1, 6, 3], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Huber, Klaus: Zwei Sätze, [0, 3, 1, 10, 11, 8, 6, 9, 7, 2, 4, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Ives, Charles: On the Antipodes, [0, 3, 11, 8, 4, 7, 10, 9, 6, 2, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Ives, Charles: Tone Roads, No.3, [0, 11, 1, 3, 2, 10, 5, 8, 4, 7, 6, 9], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Jung, Joachim: , [0, 11, 3, 10, 2, 1, 7, 8, 4, 9, 5, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Klein, Fritz: Die Maschine: Eine extonale Selbstsatire, Op.1, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Klein, Fritz Heinrich: Variationen, Op.14, [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Kokkonen, Joonas: Cello Concerto, mov. 2, row "II/A", [0, 2, 7, 4, 3, 5, 6, 1, 11, 8, 10, 9], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Kokkonen, Joonas: Cello Concerto, mov. 2, row "II/B", [0, 2, 3, 1, 4, 5, 7, 8, 6, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Kokkonen, Joonas: Cello Concerto, mov. 2, row "II/C", [0, 9, 11, 10, 7, 2, 6, 3, 5, 4, 1, 8], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
- Kokkonen, Joonas: Woodwind Quintet, mov. 1, rows "I/A" and "I/B", [0, 2, 11, 9, 10, 1, 3, 6, 4, 5, 7, 8], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: Quaestio temporis, Op.170, [0, 3, 11, 4, 2, 1, 7, 8, 10, 5, 9, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: String Quartet, No.6, Op.78, [0, 10, 11, 8, 1, 9, 3, 7, 2, 4, 6, 5], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: Symphonic Elegy for String Orchestra, Op.105, [0, 1, 9, 11, 10, 2, 3, 7, 6, 8, 4, 5], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Krenek, Ernst: Zwölf Variationen in Drei Satzen, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 6, 8], T6; I9; RI3, (0, 2, 3, 4, 5, 7)
- Krenek, Ernst: Zwölf Variationen in Drei Sätzen, Op.79, [0, 1, 3, 10, 2, 5, 11, 7, 4, 9, 8, 6], T6; I9; RI3, (0, 2, 3, 4, 5, 7)
- Kukuck, Felicitas: 'Der Gottesknecht': 6. Kantate, [0, 11, 10, 1, 2, 3, 8, 9, 6, 5, 7, 4], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Lackner, Peter: 'An alle Außerirdischen'. Kanon für drei Singstimmen, Kontrabaß und Klavier, [0, 4, 9, 7, 11, 2, 5, 1, 8, 10, 6, 3], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: 'Es fiel ein Reif in der Frühlingsnacht' für Singstimme und ein Melodie-Instrument, [0, 9, 4, 7, 2, 5, 1, 8, 10, 11, 3, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: 'Euphorbia obesa'. Kanon für Oboe, Englischhorn und Fagott., [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: 'Flügelaltar' für Klavier, [0, 9, 11, 10, 2, 7, 1, 8, 4, 5, 3, 6], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
- Lackner, Peter: 'Venus-Quadrat' für Violine und Klavier, [0, 7, 2, 5, 9, 10, 11, 6, 8, 4, 3, 1], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: 2. Kanonzyklus, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Das Buch der Wandlungen I für Frauenstimmen und,oder Klavier, [0, 8, 3, 5, 1, 10, 7, 11, 4, 2, 6, 9], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: INITIUM TRIPLEX. 28. Juni 2016; für drei Tasteninstrumente, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Lackner, Peter: KANON für A, O & Gsellmanns Weltmaschine. 8. Oktober 1958,2008, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon T2 à 6, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon T3 à 4, [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon T4 á 3, [0, 5, 7, 2, 4, 9, 11, 6, 8, 1, 3, 10], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon T6 á 2, [0, 10, 8, 3, 1, 5, 6, 4, 2, 9, 7, 11], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Blockflötenquartett. April 2005, [0, 10, 11, 3, 1, 2, 8, 7, 9, 5, 4, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Lackner, Peter: Kanon für Flöte solo und N. N., [0, 3, 7, 10, 2, 5, 11, 8, 4, 1, 9, 6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Flöte und Elektronik. Februar 1999, [0, 10, 2, 7, 9, 5, 11, 3, 1, 8, 4, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Klavier zu vier Händen, [0, 10, 5, 3, 7, 8, 6, 4, 11, 9, 1, 2], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Klaviertrio, [0, 2, 4, 9, 5, 7, 3, 1, 11, 6, 10, 8], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Orgel, zweimanualiges Cembalo oder Klavier, [0, 7, 2, 11, 4, 9, 6, 8, 1, 5, 3, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für Orgel. 21. November 1994, 4. Februar 1995, [0, 8, 5, 1, 4, 9, 2, 11, 7, 3, 10, 6], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Lackner, Peter: Kanon für Schwegel, diatonisches Hackbrett und Violine, [0, 8, 4, 10, 6, 2, 5, 1, 9, 3, 11, 7], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für Schwegel und zwei Geigen, [0, 6, 4, 2, 10, 8, 9, 3, 5, 7, 11, 1], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für Streichquartett. 22.September 2003, [0, 8, 10, 4, 2, 6, 9, 1, 11, 5, 7, 3], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für Violine, Viola und Akkordeon. 11. Juni 2007, [0, 11, 1, 2, 3, 10, 4, 9, 8, 7, 5, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Lackner, Peter: Kanon für Violine solo, [0, 11, 2, 7, 10, 9, 3, 4, 1, 8, 5, 6], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
- Lackner, Peter: Kanon für drei Klaviere. 28. 6. 2016, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Lackner, Peter: Kanon für drei Violinen I, II August 1998, [0, 2, 10, 4, 8, 6, 1, 9, 11, 5, 3, 7], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Kanon für zwei Singstimmen und Ensemble zur Skulpturengruppe LEM von Axel Kirchmayr und einem Text von Hannes Waltl. September 2004, [0, 2, 9, 10, 5, 7, 1, 11, 4, 3, 8, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für zwei Trompeten, Horn, Posaune und Tuba. 1. Mai 1993, [0, 1, 2, 10, 3, 5, 11, 9, 4, 8, 7, 6], T6; I9; RI3, (0, 2, 3, 4, 5, 7)
- Lackner, Peter: Kanon für zwei Violinen, [0, 7, 4, 5, 9, 2, 3, 8, 11, 10, 6, 1], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für zwei Violinen. Frühjahr 1992, [0, 2, 4, 7, 9, 11, 5, 3, 1, 10, 8, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Lackner, Peter: Kanon für zwei Violinen und Klavier. 1. Dezember 2004, [0, 10, 2, 6, 8, 4, 1, 9, 11, 3, 7, 5], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: Moebiusband I für zwei Melodieinstrumente, [0, 6, 8, 2, 7, 1, 11, 5, 3, 9, 4, 10], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Lackner, Peter: Trauermusik für Fagott, Kontrafagott und Pauke, [0, 6, 2, 8, 10, 4, 11, 5, 9, 3, 1, 7], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Lackner, Peter: kgV (3,4) [zweistimmiger Kanon für Klavier], [0, 10, 2, 3, 5, 7, 1, 11, 9, 8, 4, 6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Lang, Bernhard: 'Der Golem' nach Gustav Meyrinck, [0, 4, 7, 8, 11, 3, 5, 2, 9, 1, 10, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Lang, Bernhard: Der Reigen, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Lang, Bernhard: Hemma (Music Theatre Hemma Klagenfurt 2015), [0, 5, 10, 2, 3, 1, 7, 9, 8, 4, 11, 6], T6; I9; RI3, (0, 2, 3, 4, 5, 7)
- Lang, Klaus: 'Von der Ligurischen Küste zum Trasimenischen See'; Trauermusik für Violine und Klavier, [0, 5, 9, 8, 10, 7, 1, 4, 2, 3, 11, 6], T6; I11; RI5, (0, 2, 3, 4, 5, 7)
- Leibowitz, René: Trois pièces pour piano, Op.19, [0, 4, 3, 1, 2, 5, 6, 9, 10, 8, 7, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Ligeti, György: Le Grand Macabre, [0, 6, 5, 11, 10, 4, 9, 3, 2, 8, 7, 1], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Liszt, Franz: Eine Faust Symphonie, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Luo, Zhong-Rong: Chang'e, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Dusk, row 2, [0, 3, 7, 5, 8, 10, 1, 11, 6, 2, 4, 9], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Morning Glory, [0, 2, 5, 9, 7, 10, 3, 11, 1, 4, 6, 8], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Picking lotus flowers at the riverside, [0, 2, 5, 7, 10, 3, 1, 4, 6, 9, 11, 8], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Luo, Zhong-Rong: Three Piano Pieces, "Arabeque", row 2, [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Lutosławski, Witold: Musique Funébre (Funeral Music), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Lutyens, Elisabeth: Essence Of Our Happinesses, Op.69, mvt II, Part I, [0, 11, 1, 10, 2, 3, 8, 9, 5, 6, 4, 7], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Lutyens, Elisabeth: Motet (Excerota Tractati Logico-Philosophici), Op.27, [0, 11, 3, 7, 8, 4, 2, 6, 5, 1, 9, 10], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Lutyens, Elisabeth: The Numbered, Altered Primary Row (swap pitches 2 and 3), [0, 11, 10, 1, 2, 9, 3, 4, 8, 5, 7, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Lutyens, Elisabeth: The Numbered, Primary Row, [0, 10, 11, 1, 2, 9, 3, 4, 8, 5, 7, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Mamlok, Ursula: Haiku Settings, No.5, [0, 11, 8, 7, 4, 3, 5, 6, 9, 10, 1, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Mamlok, Ursula: Panta Rhei, [0, 7, 4, 11, 8, 3, 10, 9, 6, 2, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Mamlok, Ursula: Panta Rhei, secondary row (mvt 4, Piano), [0, 11, 8, 3, 4, 7, 2, 1, 6, 9, 10, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Martino, Donald: Notturno (Row B), [0, 7, 11, 10, 9, 8, 2, 1, 6, 3, 4, 5], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Matthias, Hauer Josef: Zwölftonspiel für Holzbläser, Streicher und Klavier. April 1951, [0, 4, 9, 11, 7, 2, 3, 6, 8, 10, 5, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Messiaen, Olivier: Livre d'orgue, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Mittendorfer, Josef: aleatoric row, [0, 2, 7, 1, 8, 6, 10, 5, 4, 11, 3, 9], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Moevs, Robert: Musica da Camera, [0, 1, 11, 3, 4, 2, 9, 10, 8, 7, 5, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Morris, Robert: By Far, [0, 1, 4, 11, 3, 2, 6, 7, 5, 10, 8, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Morris, Robert: Clash, [0, 3, 11, 10, 8, 1, 7, 9, 2, 6, 4, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Morris, Robert: Concerto for Piano and Strings, [0, 1, 6, 11, 7, 5, 10, 8, 4, 3, 2, 9], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Morris, Robert: Roundelay, row 1, [0, 7, 4, 11, 9, 2, 6, 3, 10, 5, 8, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Morris, Robert: Roundelay, row 2, [0, 5, 9, 7, 8, 10, 4, 11, 1, 6, 2, 3], T6; I11; RI5, (0, 2, 3, 4, 5, 7)
- Morris, Robert: Roundelay, row 5, [0, 3, 11, 4, 1, 2, 8, 10, 5, 9, 7, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Morris, Robert: Roundelay, row 6, [0, 10, 5, 11, 4, 6, 8, 7, 2, 3, 9, 1], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Morris, Robert: Tête‐à‐Tête, [0, 3, 11, 10, 1, 8, 2, 6, 9, 5, 4, 7], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Nono, Luigi: Canti per tredeci, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Nono, Luigi: Composizione per orchestra, No.1, [0, 1, 7, 6, 2, 8, 4, 3, 5, 10, 11, 9], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Nono, Luigi: Cori di Didone, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Nono, Luigi: Ha venido, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Nono, Luigi: Il canto sospeso, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Nono, Luigi: Intolleranza, Alto, [0, 6, 7, 1, 2, 8, 9, 3, 4, 10, 11, 5], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Nono, Luigi: Intolleranza, Tenor 1, [0, 6, 11, 5, 10, 4, 9, 3, 8, 2, 7, 1], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Nono, Luigi: Intolleranza, Tenor 2, [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Nono, Luigi: La terra e la compagna (sketch), Series 1, [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Nono, Luigi: La terra e la compagna (sketch), Series 2, [0, 6, 1, 7, 11, 5, 2, 8, 10, 4, 3, 9], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Nono, Luigi: Variazioni canoniche sulla serie dell'Op.41 di Arnold Schönberg, [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Panufnik, Andrzej: Sinfonia di Sfere (Symphony, No.5), Chord 1, [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Preßl, Hermann Markus: N. N. 50; 'Die Zeremonie des Abschieds', [0, 9, 4, 2, 7, 5, 8, 1, 6, 3, 11, 10], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Pärt, Arvo: Diagrams, [0, 11, 2, 1, 3, 4, 9, 10, 7, 8, 6, 5], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Riegebauer, Sigrid: Toccata, [0, 3, 1, 2, 11, 10, 4, 5, 8, 7, 9, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Rochberg, George: Sonata-Fantasia, [0, 11, 10, 4, 5, 6, 9, 8, 7, 1, 2, 3], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Rochberg, George: Symphony, No.2, [0, 8, 1, 4, 9, 5, 6, 2, 3, 10, 11, 7], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Sande, Henrik: 'Volkslied' für zwei Singstimmen und Klavier. 24. 12. 2015, [0, 2, 4, 5, 7, 9, 10, 8, 6, 3, 1, 11], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Sande, Henrik: 4032 Töne für Klavier sechshändig, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Santoro, Claudio: Sonata, No.1, [0, 10, 3, 8, 11, 1, 2, 9, 7, 4, 5, 6], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Schnittke, Alfred: Concerto, No.2 for Violin and Chamber Orchestra, [0, 11, 1, 2, 10, 3, 4, 9, 5, 6, 8, 7], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 6, [0, 11, 2, 1, 9, 10, 7, 8, 4, 3, 6, 5], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Concerto Grosso, No.3, (mvt 3, 4), row 8, [0, 11, 7, 9, 10, 8, 6, 5, 3, 4, 1, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Concerto Grosso, No.3, monogram 3, [0, 11, 2, 1, 3, 4, 10, 9, 7, 8, 5, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Piano Sonata, No.1, mvt 2, mm. 72-76, [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Schnittke, Alfred: Sonata, No.2 for Cello and Piano, mvt 2, [0, 2, 3, 1, 4, 5, 11, 10, 7, 9, 8, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.1, [0, 2, 1, 10, 3, 11, 5, 9, 4, 7, 8, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.4, [0, 11, 10, 1, 3, 2, 4, 9, 8, 6, 5, 7], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.4, mvt 2, m.40, [0, 5, 10, 3, 2, 7, 8, 1, 6, 11, 4, 9], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.122, [0, 1, 11, 2, 10, 3, 4, 9, 8, 7, 6, 5], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: String Quartet, No.4, mvt 4, m.31, [0, 11, 9, 10, 8, 7, 6, 5, 3, 4, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Symphony, No.7, mvt 3, row X, [0, 1, 10, 11, 2, 3, 9, 4, 5, 8, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Schnittke, Alfred: Symphony, No.7, mvt 3, row y, [0, 1, 11, 10, 8, 9, 7, 6, 5, 4, 3, 2], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Schoenberg, Arnold: Fantasy for Piano Four Hands, I, [0, 4, 2, 5, 3, 7, 11, 10, 1, 8, 9, 6], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Schoenberg, Arnold: Four Pieces for Mixed Chorus, No.3, Op.27, No.3, [0, 11, 7, 9, 10, 8, 4, 5, 1, 3, 2, 6], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Schoenberg, Arnold: Modern Psalms, The First Psalm, Op.50c, [0, 11, 8, 4, 7, 3, 1, 5, 2, 6, 9, 10], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 1), [0, 11, 3, 4, 8, 7, 2, 1, 5, 6, 10, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Schoenberg, Arnold: Ode To Napoleon Buonaparte, Op.41 (view 2), [0, 1, 9, 8, 4, 5, 7, 6, 10, 11, 3, 2], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Schoenberg, Arnold: Psalm 130, De Profundis (unfinished), Op.50B, [0, 6, 5, 1, 11, 7, 4, 8, 9, 3, 2, 10], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Schoenberg, Arnold: Serenade, mvt 4, "Sonett", Op.24, [0, 10, 11, 7, 8, 9, 4, 2, 5, 1, 3, 6], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Schoenberg, Arnold: Suite, Op.29, [0, 4, 3, 7, 11, 8, 9, 6, 5, 1, 2, 10], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Schoenberg, Arnold: Three Songs, No.3, "Madchenlied", Op.48, [0, 6, 8, 10, 2, 4, 9, 5, 3, 11, 7, 1], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Schwantner, Joseph: ...and the mountains rising nowhere, [0, 11, 8, 7, 4, 3, 2, 1, 10, 9, 6, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Schwantner, Joseph: Elixir (Consortium VIII), [0, 8, 4, 3, 7, 11, 10, 6, 9, 5, 1, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Schwantner, Joseph: Elixir (Consortium VIII), m.22, [0, 1, 4, 5, 8, 9, 6, 7, 10, 11, 2, 3], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Schwantner, Joseph: In Aeternum (Derived Row), [0, 3, 11, 2, 10, 1, 7, 4, 8, 5, 9, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Schwantner, Joseph: In Aeternum (Principal Row), [0, 4, 11, 6, 10, 5, 1, 9, 2, 7, 3, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Schwantner, Joseph: Modus Caelestis (A), [0, 6, 7, 1, 11, 5, 4, 10, 8, 2, 3, 9], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Seiber, Mátyás: String Quartet, No.2, [0, 2, 3, 1, 4, 11, 5, 10, 7, 9, 8, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Seiber, Mátyás: Ulysses, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1214a Thirds (Twelve-Tone Patterns), [0, 4, 8, 11, 3, 7, 6, 10, 2, 5, 9, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1215a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 7, 2, 9, 4, 11, 6], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1216a Foutths (Twelve-Tone Patterns), [0, 5, 10, 3, 7, 2, 9, 4, 8, 1, 6, 11], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1218a Fourths (Twelve-Tone Patterns), [0, 5, 10, 3, 8, 1, 6, 11, 4, 9, 2, 7], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1219a Fourths (Twelve-Tone Patterns), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1220a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1221a Fifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1222aFifths (Twelve-Tone Patterns), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1223a Sixths (Twelve-Tone Patterns), [0, 8, 4, 1, 5, 9, 6, 2, 10, 7, 11, 3], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1225a Sixths (Twelve-Tone Patterns), [0, 8, 4, 7, 11, 3, 6, 2, 10, 1, 5, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1226a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 8, 2, 4, 6, 1, 11, 9, 3, 5, 7], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1227a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 4, 2, 8, 6, 1, 11, 9, 7, 5, 3], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1228a Minor Sevenths (Twelve-Tone Patterns), [0, 10, 2, 4, 8, 6, 11, 1, 5, 3, 7, 9], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1229a Major Sevenths (Twelve-Tone Patterns), [0, 11, 10, 9, 8, 7, 1, 2, 3, 4, 5, 6], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1230a Major Sevenths (Twelve-Tone Patterns), [0, 11, 3, 4, 8, 7, 1, 2, 6, 5, 9, 10], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1231a Major Sevenths (Twelve-Tone Patterns), [0, 11, 4, 3, 8, 7, 1, 2, 9, 10, 5, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1232a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1233a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1234a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1235a (Twelve-Tone Spirals), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1236a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 9, 2, 4, 7, 5, 6, 8, 3, 1, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1237a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1239a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 2, 9, 4, 7, 6, 5, 8, 3, 10, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1240a Converging and Diverging Whole-Tone Scales (Twelve-Tone Spirals), [0, 11, 9, 2, 4, 7, 5, 3, 6, 8, 1, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1242a Mutually Exclusive Diminished-Seventh Chords (Twelve-Tone Spirals), [0, 8, 4, 11, 3, 7, 1, 9, 5, 10, 2, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1244a Crossing Sixths (Crossing Intervals), [0, 3, 8, 7, 4, 11, 1, 2, 10, 5, 6, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1245a Crossing Fifths (Crossing Intervals), [0, 5, 7, 10, 2, 3, 9, 8, 4, 1, 11, 6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1246a Crossing Fourths (Crossing Intervals), [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1247a Crossing Thirds (Crossing Intervals), [0, 3, 4, 11, 7, 8, 10, 5, 2, 1, 6, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1248a Crossing Thirds (Crossing Intervals), [0, 5, 4, 1, 8, 9, 11, 6, 3, 2, 7, 10], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1250a Crossing Seconds (Crossing Intervals), [0, 11, 2, 9, 4, 7, 6, 5, 8, 3, 10, 1], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1256a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 11, 4, 6, 9, 1], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1256b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 9, 4, 2, 11, 7, 5, 1, 8, 6, 3, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1257a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 1, 6, 9, 2, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1257b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 5, 2, 10, 6, 1, 9], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1269a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1269b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1270a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 11, 3, 5, 9, 1], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1270b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 2, 10, 6, 3, 11, 7, 5, 1, 9], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1271a Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 2, 6, 9, 1, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1271b Quadritonal Arpeggios (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1277a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 2, 5, 8, 4, 11, 9, 6, 1], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1277b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 3, 7, 10, 5, 2, 4, 8, 11, 9, 6, 1], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1278a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 1, 9, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1278b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 6, 10, 1, 9, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1290a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 1, 5, 6, 2, 10, 7, 3, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1290b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 9, 5, 1, 10, 2, 6, 7, 3, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1291a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 2, 6, 7, 3, 11, 9, 5, 1], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1291b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 10, 6, 2, 11, 3, 7, 9, 5, 1], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 1292a Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 3, 7, 10, 6, 2, 1, 9, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1292b Quadritonal Arpeggios; Inversions (Division of Twelve Tones into Four Mutually Exclusive Triads), [0, 4, 8, 11, 7, 3, 2, 6, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1293a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 2, 4, 5, 7, 9, 6, 8, 10, 11, 1, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1293b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 3, 1, 11, 10, 8, 6, 9, 7, 5, 4, 2], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 1294a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 9, 4, 7, 5, 2, 6, 3, 10, 1, 11, 8], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1294b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 8, 11, 1, 10, 3, 6, 2, 5, 7, 4, 9], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 1295a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 2, 5, 4, 3, 1, 6, 8, 11, 10, 9, 7], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1295b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 7, 9, 10, 11, 8, 6, 1, 3, 4, 5, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1296a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 7, 8, 3, 4, 11, 6, 1, 2, 9, 10, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 1297a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 9, 7, 2, 4, 6, 5, 3, 1, 8, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1297b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 10, 8, 1, 3, 5, 6, 4, 2, 7, 9, 11], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1298a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1299a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 9, 2, 7, 4, 5, 6, 3, 8, 1, 10, 11], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1299b Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 10, 1, 8, 3, 6, 5, 4, 7, 2, 9], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 1300a Two Major Hexachords (Miscellaneous Dodecaphonic Patterns), [0, 11, 1, 10, 2, 9, 6, 5, 7, 4, 8, 3], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1303 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 2, 3, 7, 10, 5, 11, 4, 1, 9, 8, 6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1304 Invertible Dodecaphonic Progressions - With all Different Intervals. (On a Minor Triad), [0, 3, 7, 8, 10, 5, 11, 4, 2, 1, 9, 6], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1310 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 5, 1, 4, 2, 3, 9, 8, 10, 7, 11, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 1311 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 9, 10, 2, 5, 11, 8, 4, 3, 1, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1312 Invertible Dodecaphonic Progressions - With all Different Intervals, [0, 7, 10, 2, 3, 5, 11, 9, 8, 4, 1, 6], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1314 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 2, 7, 4, 5, 9, 3, 11, 10, 1, 8, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1315 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 4, 5, 2, 7, 9, 3, 1, 8, 11, 10, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1316 Invertible Dodecaphonic Progressions - With all Different Intervals. (White-Key Row of Six Notes), [0, 7, 4, 5, 9, 2, 8, 3, 11, 10, 1, 6], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1317 Invertible Dodecaphonic Progressions - With all Different Intervals. (Mother Chord), [0, 11, 7, 4, 2, 9, 3, 8, 10, 1, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 1318 Invertible Dodecaphonic Progressions - With all Different Intervals. (Grandmother Chord), [0, 11, 1, 10, 2, 9, 3, 8, 4, 7, 5, 6], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 230 Ultrapolation of Three Notes (Ditone Progression; Equal Division of One Octave into Three Parts), [0, 6, 5, 11, 4, 10, 9, 3, 8, 2, 1, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Slonimsky, Nicholas: No. 405 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 7, 5, 3, 10, 8, 6, 1, 11, 9, 4, 2], T6; I9; RI3, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 407 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 415 Ultrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 453 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 10, 3, 2, 1, 6, 5, 4, 9, 8, 7], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 459 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 469 Infrapolation of Two Notes (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 482 Infra-Interpolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 11, 1, 3, 2, 4, 6, 5, 7, 9, 8, 10], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 485 Infra-Interpolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 2, 3, 1, 5, 6, 4, 8, 9, 7, 11], T6; I9; RI3, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 496 [Shostakovitch: Prelude No, 2] Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 2, 4, 3, 5, 7, 6, 8, 10, 9, 11, 1], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 499 Inter-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 2, 7, 3, 5, 10, 6, 8, 1, 9, 11, 4], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 505 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 5, 3, 1, 8, 6, 4, 11, 9, 7, 2], T6; I7; RI1, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 508 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 10, 8, 3, 1, 11, 6, 4, 2, 9, 7, 5], T6; I5; RI11, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 512 Infra-Ultrapolation (Sesquitone Progression; Equal Division of One Octave into Four Parts), [0, 8, 4, 3, 11, 7, 6, 2, 10, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 570 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 3, 2, 5, 4, 7, 6, 9, 8, 11, 10, 1], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 572 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 574 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 576 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 9, 2, 11, 4, 1, 6, 3, 8, 5, 10, 7], T6; I7; RI1, (0, 2, 3, 4, 5, 7)
- Slonimsky, Nicholas: No. 578 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 579 Ultrapolation of One Note (Whole-Tone Progression; Equal Division of One Octave into Six Parts), [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 637 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 3, 2, 4, 5, 7, 6, 8, 9, 11, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 639 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 5, 4, 3, 6, 7, 8, 11, 10, 9], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 640 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 10, 7, 8, 9, 6, 5, 4, 1, 2, 3], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 642 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 11, 10, 9, 8, 7, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 645 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 11, 10, 8, 9, 7, 6, 4, 5, 3, 2], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 648-654 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 655-657 Permutations (Semitone Progression; Equal Division of One Octave into Twelve Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 749 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 753 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 4, 8, 9, 1, 5, 6, 10, 2, 3, 7, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 754 Interpolation of Two Notes (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 5, 7, 9, 2, 4, 6, 11, 1, 3, 8, 10], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 793 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 794 Infra-Ultrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 10, 11, 9, 7, 8, 6, 4, 5, 3, 1, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 799 Infra-Infrapolation (Sesquiquadritone Progression; Equal Division of Three Octaves into Four Parts), [0, 2, 7, 9, 11, 4, 6, 8, 1, 3, 5, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Slonimsky, Nicholas: No. 822 Ultrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 823 Ultrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 1, 10, 11, 8, 9, 6, 7, 4, 5, 2, 3], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 824 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 11, 10, 9, 8, 7, 6, 5, 4, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Slonimsky, Nicholas: No. 875 Infrapolation of One Note (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 6, 5, 11, 10, 4, 3, 9, 8, 2, 1, 7], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Slonimsky, Nicholas: No. 903 Inter-Ultrapolation (Quinquetone Progression; Equal Division of Five Octaves into Six Parts), [0, 4, 8, 5, 9, 1, 10, 2, 6, 3, 7, 11], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Slonimsky, Nicholas: No. 915 Miscellaneous Patterns (Diatessaron Progression; Equal Division of Five Octaves into Twelve Parts), [0, 10, 2, 8, 4, 6, 5, 3, 7, 1, 9, 11], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Slonimsky, Nicholas: No. 997 Infra-Interpolation (Diapente Progression; Equal Division of Seven Octaves into Twelve Parts), [0, 8, 4, 7, 3, 11, 2, 10, 6, 9, 5, 1], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Smith, Hale: Contours for Orchestra, [0, 5, 6, 4, 10, 11, 7, 2, 1, 3, 9, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Spinner, Leopold: Chamber Symphony, Op.28, [0, 11, 10, 6, 4, 5, 2, 1, 3, 7, 8, 9], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Spinner, Leopold: Fantasy for Piano, Op.9 , [0, 1, 4, 5, 2, 3, 8, 9, 6, 7, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Spinner, Leopold: Ich lieb' eine Blume for Four-part mixed Choir, [0, 11, 2, 4, 9, 7, 1, 3, 10, 8, 5, 6], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Spinner, Leopold: Sonata for Clarinet and Piano, Op.17, [0, 3, 4, 1, 2, 5, 11, 8, 7, 10, 9, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Spinner, Leopold: Sonatina for Cello and Piano, Op.26, [0, 1, 11, 2, 4, 3, 9, 10, 8, 5, 7, 6], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Spinner, Leopold: String Quartet, No.2, Op.7, [0, 3, 4, 7, 8, 11, 1, 10, 9, 6, 5, 2], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Spinner, Leopold: Trio for Clarinet, Cello and Piano, [0, 1, 7, 6, 5, 11, 10, 3, 4, 2, 9, 8], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Steinbauer, Othmar: Violinsonate, No.1, Op.15, [0, 5, 2, 10, 7, 3, 11, 8, 4, 1, 6, 9], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Stockhausen, Karlheinz: Gruppen, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Klavierstück IX, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Klavierstück VII, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Klavierstück X, [0, 8, 1, 10, 9, 11, 5, 3, 4, 7, 2, 6], T6; I3; RI9, (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Kreuzspiel, [0, 10, 9, 11, 7, 2, 8, 1, 4, 6, 5, 3], T6; I3; RI9, (0, 2, 3, 4, 5, 7)
- Stockhausen, Karlheinz: Tierkreis, Cancer, [0, 7, 11, 10, 9, 8, 3, 6, 4, 1, 5, 2], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Stockhausen, Karlheinz: Tierkreis, Scorpio, [0, 4, 3, 11, 7, 8, 10, 9, 2, 5, 1, 6], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Stravinsky, Igor: Agon, "Pas de deux", "Four trios", [0, 1, 4, 3, 2, 5, 6, 9, 8, 11, 10, 7], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Stravinsky, Igor: Canticum Sacrum, II & IV, [0, 11, 1, 3, 4, 2, 7, 6, 9, 5, 8, 10], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Stravinsky, Igor: Fanfare for a New Theater, [0, 11, 1, 3, 4, 2, 5, 7, 6, 8, 10, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Stravinsky, Igor: Movements, [0, 1, 7, 5, 6, 11, 9, 8, 10, 3, 4, 2], T3,9; I3,9; RI6,12, (0, 1, 2, 6, 7, 8)
- Talma, Louise: Passacaglia and Fugue, [0, 4, 2, 9, 11, 7, 8, 3, 1, 6, 5, 10], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Talma, Louise: Six Etudes, Etude 4, [0, 1, 5, 9, 4, 8, 7, 6, 11, 2, 10, 3], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Wang, Jian-Zhong: Five Pieces for Piano no. 1, "Pastorale" (variant), [0, 3, 5, 7, 4, 2, 11, 9, 6, 8, 10, 1], T6; I1; RI7, (0, 2, 3, 4, 5, 7)
- Webern, Anton: Op.32 (un-finished), later sketch, [0, 1, 2, 11, 10, 9, 5, 4, 3, 6, 7, 8], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Webern, Anton: 3 Lieder, "Erlösung", Op.18, No.2, [0, 3, 11, 2, 10, 1, 9, 5, 8, 4, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
- Webern, Anton: 3 Volkstexte, "Heiland, Unsere Missetaten...", Op.17, No.3, [0, 9, 8, 7, 11, 10, 4, 5, 6, 3, 2, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Webern, Anton: Concerto for Nine Instruments (Konzert), Op.24, [0, 11, 3, 4, 8, 7, 9, 5, 6, 1, 2, 10], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Webern, Anton: Symphony, Op.21, [0, 3, 2, 1, 5, 4, 10, 11, 7, 8, 9, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Webern, Anton: Variations for Orchestra, Op.30, [0, 1, 4, 3, 2, 5, 6, 9, 8, 7, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Webern, Anton: Variations for Piano, Op.27, [0, 8, 7, 11, 10, 9, 3, 1, 4, 2, 6, 5], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Westergaard, Peter: Mr. and Mrs. Discobbolos, [0, 2, 1, 4, 3, 5, 8, 6, 10, 7, 11, 9], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Wolpe, Stefan: Four Studies on Basic Rows, No.1 - Study on Tritones, [0, 6, 7, 1, 2, 8, 11, 5, 10, 4, 9, 3], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Wolpe, Stefan: Four Studies on Basic Rows, No.2 - Study on Thirds, [0, 11, 9, 8, 10, 7, 6, 5, 3, 2, 4, 1], T6; I1; RI7, (0, 1, 2, 3, 4, 5)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 1, [0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 11, [0, 11, 2, 1, 4, 3, 6, 5, 8, 7, 10, 9], T6; I9; RI3, (0, 1, 2, 3, 4, 5)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 2, [0, 2, 4, 6, 8, 10, 11, 1, 3, 5, 7, 9], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 3, [0, 3, 1, 4, 2, 5, 6, 9, 7, 10, 8, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 4, [0, 4, 8, 2, 6, 10, 3, 7, 11, 5, 9, 1], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 5, [0, 5, 2, 7, 4, 9, 6, 11, 8, 1, 10, 3], T6; I3; RI9, (0, 2, 4, 5, 7, 9)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 6, [0, 6, 1, 7, 2, 8, 3, 9, 4, 10, 5, 11], T3,9; I5,11; RI2,8, (0, 1, 2, 6, 7, 8)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 7, [0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5], T6; I5; RI11, (0, 2, 4, 5, 7, 9)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 8, [0, 8, 4, 1, 9, 5, 2, 10, 6, 3, 11, 7], T2,6,10; I3,7,11; RI1,5,9, (0, 1, 4, 5, 8, 9)
- Wolpe, Stefan: Four Studies on Basic Rows, No.4, "Basic Row" 9, [0, 9, 1, 10, 2, 11, 6, 3, 7, 4, 8, 5], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Flute Variations II, [0, 1, 3, 2, 5, 4, 9, 10, 6, 8, 7, 11], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Second Sonata, Source set, [0, 2, 10, 3, 5, 7, 6, 4, 1, 11, 9, 8], T6; I11; RI5, (0, 2, 4, 5, 7, 9)
- Wuorinen, Charles: Second Sonata, Voice 2, [0, 2, 10, 9, 11, 1, 6, 4, 7, 5, 3, 8], T6; I5; RI11, (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Second Sonata, Voice 3, [0, 2, 4, 3, 5, 1, 9, 7, 11, 10, 8, 6], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Sonata for Piano, [0, 3, 2, 4, 5, 1, 11, 8, 9, 7, 6, 10], T6; I11; RI5, (0, 1, 2, 3, 4, 5)
- Wuorinen, Charles: Third Piano Sonata, [0, 7, 5, 2, 10, 9, 3, 4, 8, 11, 1, 6], T6; I1; RI7, (0, 2, 4, 5, 7, 9)
- Zhou, Jin-Min: Piano Quintet, Scherzo, [0, 10, 5, 4, 6, 11, 7, 9, 2, 3, 1, 8], T3,9; I1,7; RI4,10, (0, 1, 2, 6, 7, 8)
- Zillig, Wilfried: Das Opfer, [0, 11, 3, 4, 8, 7, 10, 9, 1, 2, 6, 5], T2,6,10; I1,5,9; RI3,7,11, (0, 1, 4, 5, 8, 9)
- Zimmerman, Bernd Alois: Perspektiven, [0, 2, 10, 8, 4, 6, 3, 1, 5, 7, 11, 9], T1,3,5,7,9,11; I1,3,5,7,9,11; RI2,4,6,8,10,12, (0, 2, 4, 6, 8, 10)
- Zimmermann, Bernd Alois: 'Ich wandte mich um und sah alles Unrecht das geschah unter der Sonne', [0, 1, 11, 2, 10, 3, 9, 4, 8, 5, 7, 6], T6; I7; RI1, (0, 1, 2, 3, 4, 5)
A relationship between pitches that share a letter name but are separated by one or more octaves.
Duplicating some notes of a chord in multiple parts.
Chromatic Modulation
Modulation to closely-related keys is a relatively easy task; we can find a pivot chord by looking at the group of chords shared between two keys that have nearly-identical key signatures. There are plenty of them. For example:
When two keys are more than one accidental apart on the circle of fifths, however, it becomes more difficult it is to find a pivot chord that will enable a smooth modulation between the two keys.
To modulate to a distantly-related key, that is, a key that is more than one accidental away on the circle of fifths, requires us to use our knowledge of chromatic chords, such as those found through mode mixture. Mode mixture enables us to expand the number of possible pivot chords for modulation. For example, in the key of C major, the chords made possible through mode mixture (i.e. those chords found in C minor, its parallel key), we can now modulate easily to E-flat major (7 shared chords), A-flat major (4 shared chords), B-flat major (3 shared chords), and their relative minor keys, F minor and G minor. Example 2 shows the common chords shared between C major and E-flat major, made possible by using mixture chords in C major.
Example 3 shows a modulation from the key of A major to F major, using iv from A major as a pivot chord. Example 4 shows this technique being used by Verdi in his opera Rigoletto.
Conversely, we can use diatonic chords in the old key as mixture chords in the new key to modulate to distant keys in the "sharpwise" direction on the circle of fifth. Example 5 shows the potential pivot chords when modulating from C major to A major by way of the diatonic chords in C major as mixture chords in the new key of A major.
A modulation using this technique in a chorale setting is shown in Example 6.
Modulation from A-flat major to C major using a diatonic chord in A-flat major (vi) as a pivot chord that is interpreted as a mixture chord (iv) in C major.
Example 7 shows an interesting chromatic modulation from Brahms's Waltz, op. 39, no. 14. Here, Brahms uses a diatonic viio6 chord in the local key of G major to pivot to E major, reinterpreting the chord as iio6, a mixture chord in the new key of E major.
Modulation from G major to E major using a diatonic chord in G major (viio6) as a pivot chord that is interpreted as a mixture chord (iio6) in E major.
Common-Tone Modulation
Sometimes we can use a common-tone, rather than a pivot chord, to modulate to distantly related keys. In particular, the key areas that are a third away from the home key are easily modulated to using this technique.These keys, chromatically altered tonics that are a third away from the home key, are called “chromatic third” or “chromatic mediant” relations. For example:C and Ab major (share the common tone C), C and Eb major (share the common tone G), C and A major (share the common tone E), C and E major (share the common tone E).
Common tones shared between chromatic mediants.
We can modulate to distant keys in several ways. Chromatic modulation refers to a modulation to a distant key by way of a chromatic chord. Enharmonic reinterpretation involves respelling and resolving a chromatic chord (usually a German augmented sixth or diminished seventh chord).
The German augmented-sixth chord may be respelled to resemble a dominant seventh chord. If you use the German augmented-sixth from the home key, the resulting modulation will be up a half step. Likewise, you can re- spell a dominant seventh chord to resemble a German augmented-sixth chord. If you use the dominant seventh chord in the home key, the resulting modulation will be down a half step. You can, of course, use this trick with any dominant-seventh chord (say, a secondary dominant), opening up numerous possibilities for modulation.
- Coming soon!
.front-matter h6 {
font-size: 1.25em;
}
.textbox--sidebar {
float: right;
margin: 1em 0 1em 1em;
max-width: 45%;
}
.textbox.textbox--key-takeaways .textbox__header p {
font: sans-serif !important;
font-weight: bold;
text-transform: uppercase;
font-style: normal;
font-size: larger;
}
a:link {
text-decoration: none;
}
button .a:link {
text-decoration: none;
color: white;
}