Editing Tone row (section)

==History and usage==
[[File:Stockhausen Gruppen für drei Orchester series.png|thumb|upright=2|Tone row of [[Karlheinz Stockhausen]]'s ''[[Gruppen|Gruppen für drei Orchester]]'', the registrally fixed pitches of which correspond with duration units and metronome marks.{{sfn|Leeuw|2005|loc=174}}[[File:Stockhausen Gruppen für drei Orchester series.mid]]]]

Tone rows are the basis of [[Arnold Schoenberg]]'s [[twelve-tone technique]] and most types of [[serialism|serial music]]. Tone rows were widely used in 20th-century contemporary music, like [[Dmitri Shostakovich]]'s use of twelve-tone rows, "without dodecaphonic transformations."<ref>Andrew Kirkman and Alexander Ivashkin, ''Contemplating Shostakovich: Life, Music and Film: Life, Music and Film''. (Farnham: Ashgate Publishing, 2013): {{unpaginated}}. {{ISBN|9781409472025}}.</ref><ref>Stephen C. Brown, "Twelve-Tone Rows and Aggregate Melodies in the Music of Shostakovich," ''Journal of Music Theory'', Vol. 59, No. 2 (Fall 2015): 191–234.</ref>

A tone row has been identified in the A minor prelude, [[BWV]] 889, from book II of [[Johann Sebastian Bach|J.S. Bach]]'s ''[[The Well-Tempered Clavier]]'' (1742)<ref>[https://www.npr.org/templates/story/story.php?storyId=112602288&ft=1&f=1039 "Discovery Reveals Bach's Postmodern Side"]. ''[[Weekend Edition]]'' Sunday, [[NPR]], 6 September 2009.</ref> and by the late eighteenth century it is found in works such as [[Wolfgang Amadeus Mozart|Mozart]]'s [[Milanese Quartets (Mozart)#Quartet No. 4 in C major, K. 157|C major String Quartet, K. 157]] (1772), [[String Quartet No. 16 (Mozart)|String Quartet in E-flat major, K. 428]], [[String Quintet No. 4 (Mozart)|String Quintet in G minor, K. 516]] (1790), and the [[Symphony No. 40 (Mozart)|Symphony in G minor, K. 550]] (1788).{{sfn|Keller|1955|loc=14–21}} [[Ludwig van Beethoven|Beethoven]] also used the technique but, on the whole, "Mozart seems to have employed serial technique far more often than Beethoven".{{sfn|Keller|1955|loc=22–23}} [[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 (music)|classical period]] and that "Schoenberg repressed his knowledge of classical serialism because it would have injured his [[narcissism]]."{{sfn|Keller|1955|loc=23}}