Series. Stravinsky works with rotational arrays in his final compositions. A form of the twelve-tone series, in this case the retrograde (R) form, is laid across the top (Row I), then each of its hexachords is rotated and transposed, independently, to begin on the same first note: A♯ for the six rows of the R^A-array and C♯ for the six rows of the R^B-array. In this musical passage, the harp melody states Row II of the R^A-array while the chord in m. 4 and the choral passage in m. 5 both realize Row I of the R^B-array.