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<title>Complement (music)</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Complement (music)</span></span>

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<p>In <a href="Music_theory" title="Music theory">music theory</a>, <i><b>complement</b></i> refers to either traditional <b>interval complementation</b>, or the <b>aggregate complementation</b> of <a href="Twelve-tone" class="mw-redirect" title="Twelve-tone">twelve-tone</a> and <a href="Serialism" title="Serialism">serialism</a>.

</p><p>In interval complementation a complement is the <a href="Interval_(music)" title="Interval (music)">interval</a> which, when added to the original interval, spans an <a href="Octave" title="Octave">octave</a> in total. For example, a major 3rd is the complement of a minor 6th. The complement of any interval is also known as its <a href="Inversion_(interval)" class="mw-redirect" title="Inversion (interval)"><i>inverse</i> or <i>inversion</i></a>. Note that the <a href="Octave" title="Octave">octave</a> and the <a href="Unison" title="Unison">unison</a> are each other's complements and that the <a href="Tritone" title="Tritone">tritone</a> is its own complement (though the latter is "re-spelt" as either an augmented fourth or a diminished fifth, depending on the context).

</p><p>In the aggregate complementation of <a href="Twelve-tone_music" class="mw-redirect" title="Twelve-tone music">twelve-tone music</a> and <a href="Serialism" title="Serialism">serialism</a> the complement of one set of notes from the <a href="Chromatic_scale" title="Chromatic scale">chromatic scale</a> contains all the <i>other</i> notes of the scale. For example, A-B-C-D-E-F-G is <i>complemented</i> by B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>-C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>-E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>-F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>-A<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>.

</p><p>Note that <i><a href="Set_theory_(music)" title="Set theory (music)">musical set theory</a></i> broadens the definition of both senses somewhat.

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<div class="mw-heading mw-heading2"><h2 id="Interval_complementation">Interval complementation</h2></div>

<p>The <i>rule of nine</i> is a simple way to work out which intervals complement each other.<sup id="cite_ref-dolmetsch_1-0" class="reference"><a href="#cite_note-dolmetsch-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Taking the <i>names</i> of the intervals as <a href="Names_of_numbers_in_English" class="mw-redirect" title="Names of numbers in English">cardinal numbers</a> (fourth etc. becomes <i>four</i>), we have for example 4 + 5 = 9. Hence the <i>fourth</i> and the <i>fifth</i> complement each other. Where we are using more generic names (such as <i><a href="Semitone" title="Semitone">semitone</a></i> and <i><a href="Tritone" title="Tritone">tritone</a></i>) this rule cannot be applied. However, <i><a href="Octave" title="Octave">octave</a></i> and <i><a href="Unison" title="Unison">unison</a></i> are not generic but specifically refer to notes with the same name, hence 8 + 1 = 9.

</p><p>Perfect intervals complement (different) perfect intervals, major intervals complement minor intervals, augmented intervals complement diminished intervals, and double diminished intervals complement double augmented intervals.

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<div class="mw-heading mw-heading3"><h3 id="Rule_of_twelve">Rule of twelve</h3></div>

<p>Using integer notation and <a href="Modular_arithmetic" title="Modular arithmetic">modulo</a> 12 (in which the numbers "wrap around" at 12, 12 and its multiples therefore being defined as 0), any two intervals which add up to 0 (mod 12) are <b>complements (mod 12)</b>. In this case the unison, 0, is its own complement, while for other intervals the complements are the same as above (for instance a <a href="Perfect_fifth" title="Perfect fifth">perfect fifth</a>, or 7, is the complement of the <a href="Perfect_fourth" title="Perfect fourth">perfect fourth</a>, or 5, 7 + 5 = 12 = 0 mod 12).

</p><p>Thus the <a href="#Sum_of_complementation">#Sum of complementation</a> is 12 (= 0 mod 12).

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<div class="mw-heading mw-heading3"><h3 id="Set_theory">Set theory</h3></div>

<p>In musical set theory or atonal theory, <i>complement</i> is used in both the sense above (in which the perfect fourth is the complement of the perfect fifth, 5+7=12), and in the <a href="Additive_inverse" title="Additive inverse">additive inverse</a> sense of the <i>same</i> melodic interval in the opposite direction – e.g. a falling 5th is the complement of a rising 5th.

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<div class="mw-heading mw-heading2"><h2 id="Aggregate_complementation">Aggregate complementation</h2></div>

<p>In twelve-tone music and serialism <b>complementation</b> (in full, <i>literal pitch class complementation</i>) is the separation of <a href="Pitch_class" title="Pitch class">pitch-class</a> collections into complementary sets, each containing pitch classes absent from the other<sup id="cite_ref-Whittall_2-0" class="reference"><a href="#cite_note-Whittall-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> or rather, "the relation by which the union of one set with another exhausts the aggregate".<sup id="cite_ref-Cambridge_3-0" class="reference"><a href="#cite_note-Cambridge-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> To provide, "a simple explanation...: the complement of a pitch-class set consists, in the literal sense, of all the notes remaining in the twelve-note chromatic that are not in that set."<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p><p>In the twelve-tone technique this is often the separation of the total chromatic of twelve pitch classes into two <a href="Hexachord" title="Hexachord">hexachords</a> of six pitch classes each. In rows with the property of <i><a href="Combinatoriality" title="Combinatoriality">combinatoriality</a></i>, two twelve-note <a href="Tone_row" title="Tone row">tone rows</a> (or two permutations of one tone row) are used simultaneously, thereby creating, "two <a href="Tone_row#total_chromatic" title="Tone row">aggregates</a>, between the first hexachords of each, and the second hexachords of each, respectively."<sup id="cite_ref-Whittall_2-1" class="reference"><a href="#cite_note-Whittall-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> In other words, the first and second hexachord of each series will always combine to include all twelve notes of the chromatic scale, known as an <i>aggregate</i>, as will the first two hexachords of the appropriately selected <a href="Permutation_(music)" title="Permutation (music)">permutations</a> and the second two hexachords.

</p><p><b>Hexachordal complementation</b> is the use of the potential for pairs of hexachords to each contain six different pitch classes and thereby complete an aggregate.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup>

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<div class="mw-heading mw-heading3"><h3 id="Sum_of_complementation">Sum of complementation</h3></div>

<p>For example, given the transpositionally related sets:

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<pre> 0 1 2 3 4 5 6 7 8 9 10 11

− 1 2 3 4 5 6 7 8 9 10 11 0

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11 11 11 11 11 11 11 11 11 11 11 11

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<p>The difference is always 11. The first set may be called P0 (see <a href="Tone_row" title="Tone row">tone row</a>), in which case the second set would be P1.

</p><p>In contrast, "where <a href="Transposition_(music)" title="Transposition (music)">transpositionally</a> related sets show the same difference for every pair of corresponding pitch classes, inversionally related sets show the same sum."<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> For example, given the inversionally related sets (P0 and I11):

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<pre> 0 1 2 3 4 5 6 7 8 9 10 11

+11 10 9 8 7 6 5 4 3 2 1 0

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11 11 11 11 11 11 11 11 11 11 11 11

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<p>The sum is always 11. Thus for P0 and I11 the <b>sum of complementation</b> is 11.

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<div class="mw-heading mw-heading3"><h3 id="Abstract_complement">Abstract complement</h3></div><p>In <a href="Set_theory_(music)" title="Set theory (music)">set theory</a> the traditional concept of <a href="Complement_(set_theory)" title="Complement (set theory)">complementation</a> may be distinguished as <b>literal pitch class complement</b>, "where the relation obtains between specific pitch-class sets",<sup id="cite_ref-Cambridge_3-1" class="reference"><a href="#cite_note-Cambridge-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> while, due to the definition of <a href="Equivalent_set" class="mw-redirect" title="Equivalent set">equivalent sets</a>, the concept may be broadened to include "not only the literal pc complement of that set but also any transposed or inverted-and-transposed form of the literal complement,"<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> which may be described as <i>abstract complement</i>,<sup id="cite_ref-jazz_9-0" class="reference"><a href="#cite_note-jazz-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> "where the relation obtains between set classes".<sup id="cite_ref-Cambridge_3-2" class="reference"><a href="#cite_note-Cambridge-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> This is because since <a href="Variable_(mathematics)" title="Variable (mathematics)">P</a> is equivalent to <span style="text-decoration: overline">M</span>, and <span style="text-decoration: overline">M</span> is the complement of M, P is also the complement of M, "from a <a href="Logic" title="Logic">logical</a> and musical point of view,"<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> even though not its <a href="https://en.wiktionary.org/wiki/literal" class="extiw external" title="wiktionary:literal">literal</a> pc complement. Originator <a href="Allen_Forte" title="Allen Forte">Allen Forte</a><sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> describes this as, "significant extension of the complement relation," though <a href="George_Perle" title="George Perle">George Perle</a> describes this as, "an egregious understatement".<sup id="cite_ref-Perle_12-0" class="reference"><a href="#cite_note-Perle-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup>

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<p>As a further example take the chromatic sets 7-1 and 5-1. If the pitch-classes of 7-1 span C–F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span> and those of 5-1 span G–B then they are literal complements. However, if 5-1 spans C–E, C<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>–F, or D–F<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-sharp">♯</span></span>, then it is an abstract complement of 7-1.<sup id="cite_ref-jazz_9-1" class="reference"><a href="#cite_note-jazz-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> As these examples make clear, once sets or pitch-class sets are labeled, "the complement relation is easily recognized by the identical ordinal number in pairs of sets of complementary cardinalities".<sup id="cite_ref-Cambridge_3-3" class="reference"><a href="#cite_note-Cambridge-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup>

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<ul><li><a href="Twelve-tone_technique#Invariance" title="Twelve-tone technique">Twelve-tone technique#Invariance</a></li>

<li><a href="Set_theory_(music)" title="Set theory (music)">Set theory (music)</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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</style><cite id="CITEREFBlood2009" class="citation web cs1">Blood, Brian (2009). <a rel="nofollow" class="external text" href="http://www.dolmetsch.com/musictheory13.htm#intervals">"Inversion of Intervals"</a>. <i>Music Theory Online</i>. Dolmetsch Musical Instruments<span class="reference-accessdate">. Retrieved <span class="nowrap">25 December</span> 2009</span>.</cite></span>

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<li id="cite_note-Whittall-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-Whittall_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Whittall_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Whittall, Arnold. 2008. <i>The Cambridge Introduction to Serialism</i>, p.272. New York: Cambridge University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-521-68200-8</bdi> (pbk).</span>

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<li id="cite_note-Cambridge-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-Cambridge_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Cambridge_3-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Cambridge_3-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Cambridge_3-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text">Nolan, Catherine (2002). <i>The Cambridge history of Western music theory</i>, p.292. Thomas Street Christensen, editor. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-521-62371-5</bdi>.</span>

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<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Pasler, Jann (1986). <i>Confronting Stravinsky: Man, Musician, and Modernist</i>, p.97. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-520-05403-2</bdi>.</span>

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<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Whittall 2008, p.273.</span>

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<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Whittall, 103</span>

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<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Perle, George (1996). <i>Twelve-Tone Tonality</i>, p.4. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-520-20142-6</bdi>.</span>

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<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Schmalfeldt, Janet (1983). <i>Berg's Wozzeck: Harmonic Language and Dramatic Design</i>, p.64 and 70. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-300-02710-9</bdi>.</span>

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<li id="cite_note-jazz-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-jazz_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-jazz_9-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Berger, Cayer, Morgenstern, and Porter (1991). <i>Annual Review of Jazz Studies, Volume 5</i>, p.250-251. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8108-2478-7</bdi>.</span>

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<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Schmalfeldt, p.70</span>

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<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Forte, Allen (1973). <i>The Structure of Atonal Music</i>. New Haven.</span>

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<li id="cite_note-Perle-12"><span class="mw-cite-backlink">^ <a href="#cite_ref-Perle_12-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Perle_12-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Perle, George. "Pitch-Class Set Analysis: An Evaluation", p.169-71, <i>The Journal of Musicology</i>, Vol. 8, No. 2 (Spring, 1990), pp. 151-172. <a rel="nofollow" class="external free" href="https://www.jstor.org/stable/763567">https://www.jstor.org/stable/763567</a> Accessed: 24/12/2009 15:07.</span>

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</style><div id="Musical_set_theory89" style="font-size:114%;margin:0 4em"><a href="Set_theory_(music)" title="Set theory (music)">Musical set theory</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="All-interval_tetrachord" title="All-interval tetrachord">All-interval tetrachord</a></li>

<li><a href="All-trichord_hexachord" title="All-trichord hexachord">All-trichord hexachord</a></li>

<li><a href="Forte_number" title="Forte number">Forte number</a></li>

<li><a href="Identity_(music)" title="Identity (music)">Identity</a></li>

<li><a href="Interval_class" title="Interval class">Interval class</a></li>

<li><a href="Interval_vector" title="Interval vector">Interval vector</a></li>

<li><a href="Multiplication_(music)" title="Multiplication (music)">Multiplication</a></li>

<li><a href="Permutation_(music)" title="Permutation (music)">Permutation</a></li>

<li><a href="Pitch_class" title="Pitch class">Pitch class</a></li>

<li><a href="Pitch_interval" title="Pitch interval">Pitch interval</a></li>

<li><a href="Pitch_interval#Pitch-interval_class" title="Pitch interval">Pitch-interval class</a></li>

<li><a href="Similarity_relation_(music)" title="Similarity relation (music)">Similarity relation</a></li>

<li><a href="Transformation_(music)" title="Transformation (music)">Transformation</a></li>

<li><a href="Interval_vector#Z-relation" title="Interval vector">Z-relation</a></li></ul>

</div></td><td class="noviewer navbox-image" rowspan="2" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background:tan;"><a href="Diatonic_set_theory" title="Diatonic set theory">Diatonic<br> set theory</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Bisector_(music)" title="Bisector (music)">Bisector</a></li>

<li><a href="Cardinality_equals_variety" title="Cardinality equals variety">Cardinality equals variety</a></li>

<li><a href="Common_tone_(scale)" title="Common tone (scale)">Common tone</a> (Deep scale property)</li>

<li><a href="Diatonic_scale" title="Diatonic scale">Diatonic scale</a></li>

<li><a href="Generated_collection" title="Generated collection">Generated collection</a></li>

<li><a href="Generic_and_specific_intervals" title="Generic and specific intervals">Generic and specific intervals</a> (Myhill's property)</li>

<li><a href="Maximal_evenness" title="Maximal evenness">Maximal evenness</a></li>

<li><a href="Rothenberg_propriety" title="Rothenberg propriety">Rothenberg propriety</a></li>

<li><a href="Structure_implies_multiplicity" title="Structure implies multiplicity">Structure implies multiplicity</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Twelve-tone_technique_and_serialism296" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="3" style="background:#dbc3a3;"><div id="Twelve-tone_technique_and_serialism296" style="font-size:114%;margin:0 4em"><a href="Twelve-tone_technique" title="Twelve-tone technique">Twelve-tone technique</a> and <a href="Serialism" title="Serialism">serialism</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Fundamentals</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Combinatoriality" title="Combinatoriality">Combinatoriality</a></li>

<li><a href="Derived_row" title="Derived row">Derivation</a></li>

<li><a href="Hexachord" title="Hexachord">Hexachord</a></li>

<li><a href="Interval_class" title="Interval class">Interval class</a></li>

<li><a href="Twelve-tone_technique#Invariance" title="Twelve-tone technique">Invariance</a></li>

<li><a href="Derived_row" title="Derived row">Partition</a>

<ul><li><a href="Cross_partition" class="mw-redirect" title="Cross partition">Cross partition</a></li></ul></li>

<ul><li><a href="Tone_row#total_chromatic" title="Tone row">Aggregate</a></li>

</div></td><td class="noviewer navbox-image" rowspan="4" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;"><a href="Permutation_(music)" title="Permutation (music)">Permutations</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Twelve-tone_technique#Transformations" title="Twelve-tone technique">Prime row</a></li>

<li><a href="Retrograde_(music)" title="Retrograde (music)">Retrograde</a></li>

<li><a href="Melodic_inversion" class="mw-redirect" title="Melodic inversion">Inversion</a></li>

<li><a href="Retrograde_inversion" title="Retrograde inversion">Retrograde inversion</a></li>

<li><a href="Multiplication_(music)" title="Multiplication (music)">Multiplication</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Notable<br> composers</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Milton_Babbitt" title="Milton Babbitt">Milton Babbitt</a></li>

<li><a href="Pierre_Boulez" title="Pierre Boulez">Pierre Boulez</a></li>

<li><a href="Josef_Matthias_Hauer" title="Josef Matthias Hauer">Josef Matthias Hauer</a></li>

<li><a href="Second_Viennese_School" title="Second Viennese School">Second Viennese School</a>

<ul><li><a href="Alban_Berg" title="Alban Berg">Alban Berg</a></li>

<li><a href="Arnold_Schoenberg" title="Arnold Schoenberg">Arnold Schoenberg</a></li>

<li><a href="Anton_Webern" title="Anton Webern">Anton Webern</a></li></ul></li>

<li><a href="Charles_Wuorinen" title="Charles Wuorinen">Charles Wuorinen</a></li>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;text-align: center;">Related articles</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="All-interval_twelve-tone_row" title="All-interval twelve-tone row">All-interval twelve-tone row</a></li>

<li><a href="All-trichord_hexachord" title="All-trichord hexachord">All-trichord hexachord</a></li>

<li><a href="Atonality" title="Atonality">Atonality</a></li>

<li><a href="Chromatic_scale" title="Chromatic scale">Chromatic scale</a></li>

<li><a href="Duration_series" title="Duration series">Duration series</a></li>

<li><a href="Equivalence_class_(music)" title="Equivalence class (music)">Equivalence</a></li>

<li><a href="Formula_composition" title="Formula composition">Formula composition</a></li>

<li><a href="Modernism_(music)" title="Modernism (music)">Modernism (music)</a></li>

<li><a href="Punctualism" title="Punctualism">Punctualism</a></li>

<li><a href="Semitone" title="Semitone">Semitone</a></li>

<li><a href="Set_theory_(music)" title="Set theory (music)">Set theory</a></li>

<li><a href="Time_point" title="Time point">Time point</a></li>

<li><a href="Trope_(music)" title="Trope (music)">Trope</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="3"><div><span class="noviewer" typeof="mw:File"><span title="List-Class article"></span></span> <a href="List_of_dodecaphonic_and_serial_compositions" title="List of dodecaphonic and serial compositions">List of dodecaphonic and serial compositions</a></div></td></tr></tbody></table></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2025-07-02" href="https://en.wikipedia.org/wiki/?title=Complement_(music)&oldid=1298451633">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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