37 Royalty-Free Audio Tracks for "Midi Files Of Tone Rows"

Berg's Lulu Schoolboy tone row on C.

Berg's basic tone row from Lulu on C.

Berg's Alwa tone row from Lulu on C.

Berg violin concerto tone row

Berg's Dr. Schön tone row from Lulu on C.

Tone row from Stockhausen's Klavierstück IX.

Tone row from "Tot" ["Lifeless"], Drei Lieder, Op. 48.

Tone row of Webern's Variations for piano, op. 27.

Schoenberg - Piano Piece op.33a tone row.

Webern's Concerto Op. 24 tone row, composed of four trichords: P RI R I.

The tone row from the first movement of Alban Berg's Lyric Suite, according to Wolfgang Stroh.

Schoenberg - Variations for Orchestra op. 31 tone row.

Berg's Lyric Suite Mov. VI tone row 2-P.

Berg's Lyric Suite Mov. VI tone row 1-P

Principal forms of Webern's tone row from Variations for piano, op. 27, movement 2.

Webern's String Quartet Op. 28 tone row, composed of three tetrachords: P I RI, with P = the BACH motif.

Tone row for Milton Babbitt's Composition for Four Instruments.

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

Tone row with Schoenberg's initials preceded by remaining four notes.

Prime form of five note tone row from Igor Stravinsky's In memoriam Dylan Thomas.

Tone row from the first movement of Alban Berg's Lyric Suite, according to George Perle.

Primary forms of the just tone row from Ben Johnston's String Quartet No. 7, mov. 2. Pitch bend appears to match intervals.

Prime row form from Stravinsky's Requiem Canticles.

Mirror forms, P, R, I, and RI, of a tone row (from Schoenberg's Variations for Orchestra op. 31): "Called mirror forms because...they are identical."

Combinatorial tone rows from Moses und Aron by Arnold Schoenberg pairing complementary hexachords from P-0/I-3.

Mother chordMutterakkord

Tone proportions of Studie I. I took F♮ as the starting point.

The opening eleven note chord from Aaron Copland's Inscape, without orchestration shown.

One of four 'Link' chords, all-interval twelve-tone sets containing an all-trichord hexachord.

Tone mixtures for Group I of Studie II. First five pitches (Group I: 1). G♯=100 Hz.

The symmetry of Webern's tone row from Variations, Op. 30, is apparent from the equivalent, P1=IR1 and R12=I12, and thus reduced number of row forms, two, P and R, plus transpositions. Consisting of three related tetrachords: a and c consisting of two minor seconds and one minor third and b consisting of two minor thirds and one minor second. Notes 4-7 and 6-9 also consist of two minor seconds and one minor third. Created by Hyacinth (talk) 23:25, 19 October 2010 using Sibelius 5.

Pierre Boulez's Second Piano Sonata series. Created by Hyacinth (talk) 01:57, 19 October 2010 using Sibelius 5.

Rudiments of the 12-note series from Stockhausen's Klavierstück III (Leeuw 2005, 176–77). Created by Hyacinth (talk) 01:36, 20 October 2010 using Sibelius 5.

The fourteen-tone series on which the melody "Libra" from Karlheinz Stockhausen's Tierkreis is based. (From p. 151 of Jerome Kohl, "The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music", Perspectives of New Music 22, nos. 1 & 2 (Fall-Winter 1983/Spring-Summer 1984): 147–85.)

Motherchord (Mutterakkord), pyramidal (symetrical) chord. A G# E C# B F# C♮ F♮ G Bb D Eb = 0 e 7 4 2 9 3 8 t 1 5 6.

Britten's twelve-tone 'Screw' theme [4]divides into equivalent tetrachords, each a segment of the circle of fifths: D-A-E-B, F#-C#-G#-D#, Bb-F-C-G. Created by Hyacinth (talk) 03:10, 7 January 2012 (UTC) using Sibelius 5.

Example 12 from Stockhausen's article "… wie die Zeit vergeht …", illustrating with a version of the series from Gruppen fur drei Orchester that, "if you start from the intervals of a proportion series, then with every step forward the register of each duration is also already chosen" (Stockhausen 1963b, 117). There are "a number of basic durations, indicated in metronome marks and corresponding with the pitch proportions within the series, reaching far as the octave positions (basic duration units)" (Leeuw 2005, 174), or "a duration scale which changes its 'time register' … corresponds to a twelve-tone scale that extends over more than one octave" (Misch 1998, 157–58).