The increasing use of pitch-class set theory in analytical literature has made it obligatory for both scholars and students to learn how to handle the tools and concepts of this theoretical approach. An outstanding example of the analytic use of set theory appears in Janet Schmalfeldt's recent book on Wozzeck. 1 It is exhausting reading, to say the least, not because its concepts are overly complex or abstract-they in fact keep close to musical matters of fact-but because it is so difficult to retain the numerous designations of pitch-class sets central to the analysis. The basic elements of the system are 220 distinct pitch-class sets (cardinal number 2 through 10) that maintain equivalence under transposition and inversion followed by transposition.2 This is a considerable number of sets to memorize. That the list is comprehensive is consoling, stimulating one's readiness to learn it by heart; but, alas, this endeavour is obstructed by the set nomenclature. Because the designations are purely numerical, they reveal little about a set's unique structure. Pc set 5-23 refers to pc set no. 23 among those containing five pitch classes; but this label tells us nothing about the properties of that particular set. To this the list adds first, the pitch classes contained in the set, after the set has been arranged in best normal order and transposed