This second part of Analysis of Klavierstücke Op. 33 a by A. Schoenberg will shade light specifically on the topic of the development and its relation with the 12-tone rows and the so-called “tonal areas”
Charles Rosen states:
1- In relation to the first part of the statement, where he talks about the techniques of thematic transformation, has already been detailed in point two of the statements of Zamacois (found in Part I of the related article).
As for the "transposition and adaptation in a rapid modulating sequence", I will base the "twelve-tone areas" on the different modes used in the series and their relationship with the tonal processes of the harmony of common practice, on which the Structure of the classical sonata:
Understanding the tonal area A, formed by the modes O1 and its respective retrograde R12, with Bb as the first note of O1, and E of R12.
Another set of modes are also found in the exhibition: I8, with its first note Eb (note the relation of just fifth between this and the first note of O1, this list of just fifths will be expanded later) and its retrograde, RI5, with his first note on A (same relation with R12). In bar 28 (see appendix A), it could be said that a "modulation" occurs in the twelve-tone areas, since another area appears for the first time in the work, this time for A2. This is formed by: O10, whose first note is a DO, (a second higher ascending than O1, acting as a II) and I2, whose first note is an FA (also this time the same ratio of just fifths is given between the modes of the areas that occurred in the exhibition).
Finally, and in bar 29 (3rd beat) is A7, formed by: O8, with its first note on an F (fifth just ascending of Bb, acting as a V) and I1, starting with the note Bb, also showing the same ratio of just fifths between modes that appears for the first time in bars 1 and 2.
This last area is the most extensive, since it covers up to the cadence in bar 32, to return to A in the next bar, as a recapitulation.
2- It can be clearly seen that, in the exhibition, the first motivic presentation and its corresponding texture (homophonic) occupies two bars. With the second (melody accompanied) lasts three bars. And the third, something more contrapuntal, two more bars. It can be inferred, then, that from bar 28, the motivic development develops in shorter periods, that is to say, developing approximately by bar (see the motivic analysis made in the annexe).
As for the harmonic movement, in the exhibition, Schöenberg presents and develops two modes of the series, O1 and RI5, during the first 14 bars, while from the last eight of the bar 27 and up to the bar 32, the I2 modes, O8, O10, I1 and RI12 are presented in a total of 5 bar.
3- I consider that the development function described by Rosen is fulfilled in this work, since in the first part of this central section (last quaver note of bar 27 to the 3rd beat of bar 30):
And then, from the 4th beat of the bar 30, a liquidation begins:
Here we can find the Matrix or 12-tone row that Schonberg used to compose this piece: