Webern uses six different row forms: P0, R0, P4, R4, P8 and R8. However, the twelve-tone matrix is set up so that every row form is repeated once as a different row form. For example, P0 is repeated as RI3, P4 is repeated as RI7 and P8 is repeated as RI11. P0, P4 and P8 are the three main row forms used because the rest are retrogrades of these main three. Each row form that is used (P0, R0, P4, R4, P8, R8) has identical pitch class layouts. Here is P0 as an example:

TRICHORDS: (013) (015) (015) (013)
(C# D B) (C Ab G) (Bb A F) (F# D# E)

TETRACHORDS: (0123) (0123) (0123)
[C# D B C] [Ab G Bb A] [F F# D# E]

HEXACHORDS: (012367) (012367)
{C# D B C Ab G} {Bb A F F# D# E}

Everything involved with the pitch class sets is very symmetrical. The trichords create a palindrome, but so does every single interval in all of the row forms. Here is R4 as an example:

Ab G Bb A C# D B C E D# F# F

1 3 1 4 1 3 1 4 1 3 1

The piece is written as a canon between four instruments. The viola imitates the first violin and the second violin imitates the cello. The first violin starts with a rest, six notes, rest, six notes, rest, four notes, rest, eight notes, rest and four notes. The viola imitates that exact pattern. The cello starts with a rest, three notes, rest, two notes, rest, two notes, rest, three notes, rest, four notes, rest, four notes, rest, three notes, rest, four notes. The second violin imitates the cello until measure twelve where it falls out of the imitation.

Every single note in this section of the piece is a quarter note. This takes out all elements of rhythmic change and surprise. With post-tonal music rhythm is usually one of the elements that you rely on to help define a motive because the melody is too complicated to follow. In this piece, however, Webern takes out that element which makes it all the more difficult to follow, but also allows the instruments to blend together, creating more of a truly polyphonic feeling.