A simple or minimal twelve-tone theory that only specifies an ordering for the twelve pitch
classes along with a set of operations, such as transposition, inversion, and their retrogrades, does not specify how one row relates to any other.
For, if pitch classes do not overlap, then enharmonically distinct notes differ either because they correspond to physically distinct pitch classes (as in nonequal-tempered systems and in systems with more than twelve pitch
classes), because they correspond to conceptually different methods of generating physically identical pitch classes (as in twelve-pitch-class equal-tempered harmonic systems), or vacuously.
Arrays of this type have been described in detail in the literature, so I will merely observe that it consists of four lines, each containing the twelve pitch
classes.(14) The lines are not all related to each other by transposition or inversion, but their constituent trichords and hexachords arc, and in interesting ways.
by the particular ordering of the twelve pitch
classes in the particular work; and, therefore, of course, to that extent a twelve-tone work is much more contextual than a tonal work, whose contingencies and dependencies remain the same in some respects .
Thus the twelve pitch
classes have been replaced by twelve different registers of noise.