Op. 19, consisting of six very short pieces, was composed in 1911, pushing forward the possibilities discovered in Three Piano Pieces, Op. 11 and Five Orchestral Pieces, Op. 16. As a result, Schoenberg composed these six pieces using themes that are self-contained and do not require development.

Consequently, there is no connection between any of the six pieces, and it can be said that each piece is characterized solely by its figuration and dynamics. Although some harmonic treatment is discernible, major, minor, Phrygian modes, etc., rapidly alternate, meaning that while there are harmonic sonorities, tonality is entirely non-functional.

For example, the opening phrase of the first piece can be considered to belong to B major, but the harmony progresses from a Phrygian VII9 chord starting on B, to B major VI, I, and then again to Phrygian II, and so on. Through such an extremely expanded harmonic background, Schoenberg's concept of "pantonalism" is pursued.

Furthermore, the second piece features a texture with rhythmic characteristics derived from staccato eighth notes, while the third piece is characterized by dynamics positioned at the opposite extreme, illustrating how each piece pursues individual expression.

A commonality can barely be found between the fourth and fifth pieces, in that they both begin on F and move towards a final note of B; however, while the former is built upon rhythmic diversity and dynamic changes, the latter is constructed with a polyphonic texture. The sixth piece, meanwhile, is characterized by its demand for extreme pianissimo.

After this work, Schoenberg ceased to compose in this direction, and this approach was inherited by his pupil, Webern.