The least familiar of Schoenberg's piano pieces, op.33b nevertheless can be seen to illuminate the crucial relationship between material and form. Ostensibly a simple ABABA pattern, the form has a multi-faceted character, whose second half performs a different role from the first and even suggests a different style of musical utterance. The opening material is pianistically awkward and though its formal returns suggest different possibilities, it is the strange and beautiful passage at bar 46 which does most to alter the trajectory of the later stages of the piece. Although this passage sits outside the form, it has a role in the broader narrative of the piece and many of its characteristics are taken up in the coda of the work. The developing sense of a more fluent pianism provides a counterpoise to the ABABA shape and the awkwardness of the opening becomes part of the dialogue between form and material.