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Stravinsky breaks the orchestra down into smaller [[Chamber music|chamber-like]] sections with the piano acting as a pivot between the smaller contrasting sections of the orchestra creating subtle and gestural textures favored by [[Anton Webern|Webern]] in pieces such as his [[Concerto for Nine Instruments (Webern)|Concerto for Nine Instruments]] (Op. 24) and the Variations for Orchestra (Op. 30) the latter of which Stravinsky admired greatly.<ref name="rd"/>
Due to the highly constructed nature of the twelve tone idiom employed, all thematic material is drawn from a single tone row which is given by the solo piano in a very nonlinear gesture at the very opening of the work: E{{flat}} F{{flat}} B{{flat}} A{{flat}} A{{music|natural}} D C B{{music|natural}} C{{sharp}} F{{sharp}} G and F{{music|natural}}.<ref>http://www.allmusic.com/composition/movements-5-for-piano-amp-orchestra-mc0002361575</ref> The row is really only presented in its complete form a couple of times; it is far more often broken up into smaller groups and manipulated into slightly varied orderings. The technique of [[Klangfarbenmelodie]] can thus clearly be heard particularly in the opening of the piece whose gestural phrase mimics that of Webern's Op. 24.{{Citation needed|date=April 2018}}<!--Commented out failed citation:<nowiki><ref></nowiki>Brian Bice, "[https://web.archive.org/web/20131203055554/http://newmusicforum.com/?page_id=363 Klangfarbenmelodie]", New Music Forum website (archive from 3 December 2013, accessed 6 July 2014).
Stravinsky himself described the harmonic structure of ''Movements'' as "anti-tonal".<ref>{{cite book|last1=Stravinsky|first1=Igor|last2=Craft|first2=Robert|title=Memories and Commentaries|date=2002 (first edition, 1960)|publisher=Faber & Faber|location=London|isbn=0-571-21242-5|url=https://books.google.com/books?id=p-sw0hqRhgwC&lpg=PP1&dq=Memories%20and%20Commentaries&pg=PP1#v=onepage&q&f=false}}</ref> Traditional references to triadic harmonic structures are eliminated in favor of an almost total linear based idiom with conventional [[ostinato|ostinati]] and harmonic considerations replaced with an atonal and highly contrapuntal texture characterized by gestures, inner unity and a strict adherence to serial forms far more pervasive than in previous serial compositions by Stravinsky.
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