Музыкада он екі тондық қатарлардың реті

Sequence of all twelve chromatic tones

In music, a tone row or note row (Reihe or Tonreihe), also series or set, is a non repetitive ordering of a set of pitch classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found.

Tone rows are the basis of Arnold Schoenberg's twelve tone technique and most types of serial music. Tone rows were widely used in 20th century contemporary music, like Dmitri Shostakovich's use of twelve tone rows, "without dodecaphonic transformations." A tone row has been identified in the A minor prelude, BWV 889, from book II of J. S. Bach's The Well Tempered Clavier (1742) and by the late eighteenth century it is found in works such as Mozart's C major String Quartet, K. 157 (1772), String Quartet in E flat major, K. 428, String Quintet in G minor, K. 516 (1790), and the Symphony in G minor, K. 550 (1788). Beethoven also used the technique but, on the whole, "Mozart seems to have employed serial technique far more often than Beethoven". Franz Liszt used a twelve tone row in the opening of his Faust Symphony. Hans Keller claims that Schoenberg was aware of this serial practice in the classical period and that "Schoenberg repressed his knowledge of classical serialism because it would have injured his narcissism."

Tone rows are designated by letters and subscript numbers (e. g.: RI11, which may also appear as RI11 or RI–11). The numbers indicate the initial (P or I) or final (R or RI) pitch class number of the given row form, most often with c = 0. "P" indicates prime, a forward directed right side up form. "I" indicates inversion, a forward directed upside down form. "R" indicates retrograde, a backwards right side up form. "RI" indicates retrograde inversion, a backwards upside down form. Transposition is indicated by a T number, for example P8 is a T(4) transposition of P4. A twelve tone composition will take one or more tone rows, called the "prime form", as its basis plus their transformations (inversion, retrograde, retrograde inversion, as well as transposition; see twelve tone technique for details). These forms may be used to construct a melody in a straightforward manner as in Schoenberg's Piano Suite Op. 25 Minuet Trio, where P 0 is used to construct the opening melody and later varied through transposition, as P 6, and also in articulation and dynamics. It is then varied again through inversion, untransposed, taking form I 0. However, rows may be combined to produce melodies or harmonies in more complicated ways, such as taking successive or multiple pitches of a melody from two different row forms, as described at twelve tone technique. Initially, Schoenberg required the avoidance of suggestions of tonality—such as the use of consecutive imperfect consonances (thirds or sixths)—when constructing tone rows, reserving such use for the time when the dissonance is completely emancipated. Alban Berg, however, sometimes incorporated tonal elements into his twelve tone works. The main tone row of his Violin Concerto hints at this tonality:

This tone row consists of alternating minor and major triads starting on the open strings of the violin, followed by a portion of an ascending whole tone scale. This whole tone scale reappears in the second movement when the chorale "Es ist genug" (It is enough) from J. S. Bach's cantata O Ewigkeit, du Donnerwort, BWV 60 is quoted literally in the woodwinds (mostly clarinet). Some tone rows have a high degree of internal organization. An example is the tone row from Anton Webern's Concerto for Nine Instruments Op. 24, shown below. In this tone row, if the first three notes are regarded as the "original" cell, then the next three are its retrograde inversion, the next three are retrograde, and the last three are its inversion. A row created in this manner, through variants of a trichord or tetrachord called the generator, is called a derived row. The tone rows of many of Webern's other late works are similarly intricate. The tone row for Webern's String Quartet Op. 28 is based on the BACH motif (B, A, C, B) and is composed of three tetrachords:

The "set complex" is the forty eight forms of the set generated by stating each "aspect" or transformation on each pitch class. is the set of all twelve pitch classes. An "array" is a succession of aggregates.