INTRODUCTORY TEXT
In addition to this new dodecaphony, with the application of polymodal constructions of two modes built upon the trtione, we can also construct symmetrical twelve-tone rows which can be as well superimposed upon the original mode. We needn’t utilize symmetrical twelve-tone rows but these rows give as well the effect of a pure musical unity and have therefore a separate ordering beyond simply a freely constructed twelve-tone row. I will list these special twelve-tone structures in a thesaurus. Once again we can choose unequal symmetrical modes which as well, possess these pitch arrangements. Therewith we can work with motives from both the modes and the symmetrical twelve-tone rows and create a homogenous environment.
SYMMETRICAL TWELVE-TONE ROWS
BASED ON THE TRITONE
I-bII-bVI-bIII-III-IV-#IV-V-II-VI-bVII-VII
I-bII-II-VI-III-IV-#IV-V-bVI-bIII-bVII-VII
I-bII-II-bIII-bVII-IV-#IV-V-bVI-VI-III-VII
I-bII-II-bIII-III-VII-#IV-V-bVI-VI-bVII-IV
I-V-II-bIII-III-IV-#IV-bII-bVI-VI-bVII-VII
I-V-bVI-bIII-III-IV-#IV-bII-II-VI-bVII-VII
I-bII-bVI-VI-III-IV-#IV-V-II-bIII-bVII-VII
I-bII-II-VI-bVII-IV-#IV-V-bVI-bIII-III-VII
I-bII-II-bIII-bVII-VII-#IV-V-bVI-VI-III-IV
I-V-II-VI-III-IV-#IV-bII-bVI-bIII-bVII-VII
I-V-II-bIII-bVII-IV-#IV-bII-bVI-VI-III-VII
I-V-II-bIII-III-VII-#IV-bII-bVI-VI-bVII-IV
I-bII-bVI-bIII-bVII-IV-#IV-V-II-VI-III-VII
I-bII-bVI-bIII-III-IV-#IV-V-II-VI-bVII-VII
I-bII-II-VI-bVII-IV-#IV-V-bVI-bIII-III-VII
I-bII-II-VI-bVII-IV-#IV-V-bVI-bIII-III-VII
I-bII-II-bIII-bVII-VII-#IV-V-bVI-VI-III-IV
I-V-bVI-VI-III-IV-#IV-bII-II-bIII-bVII-VII
I-V-II-VI-bVII-IV-#IV-bII-bVI-bIII-III-VII
I-V-II-bIII-bVII-VII-#IV-bII-bVI-VI-III-IV
I-V-bVI-bIII-bVII-IV-#IV-bII-II-VI-III-VII
I-V-bVI-bIII-III-VII-#IV-bII-II-VI-bVII-IV
I-V-II-VI-III-VII-#IV-bII-bVI-bIII-bVII-IV
I-bII-bVI-VI-bVII-IV-#IV-V-II-bIII-III-VII
I-bII-bVI-VI-III-VII-#IV-V-II-bIII-bVII-IV
I-bII-bVI-bIII-bVII-VII-#IV-V-II-VI-III-IV
I-bII-II-VI-bVII-VII-#IV-V-bVI-bIII-III-IV
I-V-bVI-VI-bVII-IV-#IV-bII-II-bIII-III-VII
I-V-II-VI-bVII-VII-#IV-bII-bVI-bIII-III-IV
I-bII-bVI-VI-bVII-VII-#IV-V-II-bIII-III-IV
BASED ON THE AUGMENTED TRIAD
I-IV-II-bIII-III-VI-#IV-V-#V-bII-bVII-VII
I-bII-#IV-bIII-III-IV-bVII-V-#V-VI-II-VII
I-bII-II-V-III-IV-#IV-VII-#V-VI-bVII-bIII
I-VI-II-bIII-III-bII-#IV-V-#V-IV-bVII-VII
I-bII-bVII-bIII-III-IV-II-V-#V-VI-#IV-VII
I-bII-II-VII-III-IV-#IV-bIII-#V-VI-bVII-V
I-IV-#IV-bIII-III-VI-bVII-V-#V-bII-II-VII
I-IV-II-V-III-VI-#IV-VII-#V-bII-bVII-bIII
I-IV-bVII-bIII-III-VI-II-V-#V-bII-#IV-VII
I-IV-II-VII-III-VI-#IV-bIII-#V-bII-bVII-V
I-VI-#IV-bIII-III-bII-bVII-V-#V-IV-II-VII
I-VI-II-V-III-bII-#IV-VII-#V-IV-bVII-bIII
I-VI-bVII-bIII-III-bII-II-V-#V-IV-#IV-VII
I-VI-II-VII-III-bII-#IV-bIII-#V-IV-bVII-V
I-bII-#IV-V-III-IV-bVII-VII-#V-VI-II-bIII
I-bII-bVII-VII-III-IV-II-bIII-#V-VI-#IV-V
I-bII-#IV-VII-III-IV-bVII-bIII-#V-VI-II-V
I-bII-bVII-V-III-IV-II-VII-#V-VI-#IV-bIII
I-IV-#IV-V-III-VI-bVII-VII-#V-bII-II-bIII
I-VI-#IV-V-III-bII-bVII-VII-#V-IV-II-bIII
I-IV-bVII-VII-III-VI-II-bIII-#V-bII-#IV-V
I-VI-bVII-VII-III-bII-II-bIII-#V-IV-#IV-V
I-IV-#IV-VII-III-VI-bVII-bIII-#V-bII-II-V
I-IV-bVII-V-III-VI-II-VII-#V-bII-#IV-bIII
I-VI-#IV-VII-III-bII-bVII-bIII-#V-IV-II-V
I-VI-bVII-V-III-bII-II-VII-#V-IV-#IV-bIII