The second study was light with complicated rhythm, particularly in its contrasting use of compound time signatures while retaining a strong melodic sense. In the third study there is the recurrent use of the various intervals this is seen in the particularly the augmented triton that is evident in the composition. The fifth study is a furious toccata with relentless semiquaver figurations. It has strong melodic sense, which is same as the second study. The tremendous tension throughout this study and keep crescendo until the harsh climax. Every gesture is effective and is carefully manoeuvred. The thickest dissonance of the notes are given ample time to add to the depth of the musical textures. Even in this work the characteristic use of free chromatic techniques and its tonal implications are seen to work in cohorts with the musical form. He was a proponent of using the twelve tones. Intervallic verb patterns are seen in the chord progression that is quite evident in all of the renditions.
Schubert Sonata D 959 is one of his last large scale sonatas (D958; D959; D960). It was finished in September 1828, two months before his death. The composer intended to dedicate it to Hummel. In the three sonatas that was developed it contains reminiscences of Beethoven’s work that passed in early 1927. These three sonatas were unknown until Schnabel featured these three sonatas in his recitals in 1920. From this work it was later introduced into the concert repertoire by many pianists.Three sonatas are apparently an allusion to the three main chapters of Schubert’s autobiography i.e. there is references or typifications to the past, present and future in the renditions by Schubert. D959 is an open-hearted and lyrical piece. It is not as stormy as the C minor or as transcendent and ethereal as B flat sonata. It is a conciliatory disposition that seems to pave in the middle ground. The piece is a balance between the grandiose orchestra and also combines elements of the intimate song-like phrase.