What sorts of configurations were you using to go between rows?
Right now, I'm working on teaching myself how to build all-partition arrays which are an extension of the inversionally combinatorial hexachordal arrays Schoenberg used for aggregate formation between two rows.
I know how to make trichordal arrays with various properties but Babbitt kind of milked those things of most all possible compositional possibilities. All-partition arrays (which use all the possible ways of dividing an aggregate into a given number of parts or less - hence the name) are much more compositionally suggestive rhythmically and flexible.
As for books, the Schoenberg book is just his treatise on tonal harmony - no twelve tone stuff whatsoever.
Books I would suggest on twelve tone composition and atonal theory in general:
An Introduction to Post-Tonal Theory by Joseph Straus - talks about all the basics of post-tonal theory. Totally indespensible and should be the first thing you read if you're interested in this stuff. Also check out Allen Forte, George Pearle and John Rahn's books on the subject. The content is pretty much the same but the one I have the most experience with (and own) is the Straus book so that's why I recommend it.
Simple Composition by Charles Wuorinen - Great step-by-step approach to teaching how to compose twelve tone music with serialized rhythm from one of my favorite composers. Sometimes he gets dogmatic but that can be overlooked, IMO. This is a practical guide rather than an analytic one. Great exercises - many of which are geared toward cultivating an aesthetic sense when writing this type of music. It's definitely short on theory though. It demonstrates certain concepts and shows you ways of using them but doesn't explain the reasoning behind those concepts all that much. It is a practical guide though, after all.
Words About Music - Lectures by Milton Babbitt edited into a book. Absolutely indespensible. Great stuff about Schoenberg and Webern and his own music which is based, in large part, upon generalizations and extensions of the original theories. There's even some stuff about Stravinsky, Wagner, Bach, and Schenkerian approaches to tonal theory. This book is full of witticisms and the material is presented in an engaging manner. Sometimes Babbitt goes off on wonderful tangents that are seemingly unrelated to the topic of the chapter but he always manages to relate these to his point in a fascinating way - sort of like his own music.
An Introduction to the Music of Milton Babbitt by Andrew Mead - Analytic text about Babbitt's music (although a lot of practical knowledge can be gained by infrence and analyzing parts of the music that the text doesn't explain). I feel like assumes a little too much knowledge on the part of the reader. If I didn't read the Straus book before this one, I'd be totally lost. I'm on my 3rd or 4th time through that book and I'm still learning new things from it. If you're into Babbitt, this book is absolutely necessary as it's the best single source on his music available.
Misc. articles by Babbitt (such as the link I posted) - extremely technical and not easy to get through but once you understand his theorems and whatnot, you'll have a better idea of the possibilities inherent in certain twelve tone structures than from reading any of the other books. I haven't read all his technical writings but I certainly intend to. There's very powerful information for both analysis and practical compositon contained within these articles.
