Schönberg's 《Six Little Piano Pieces》 reveals through analysis that, based upon constituent musical intervals in the exposition at the beginning of each piece, motif processing occurs throughout the pieces in term of melody and chord, in the process that each musical interval is separated from its individual role as a motif and processes itself anew, to form a strong contrast in expression. In such radical motif processing, every shape which consists of each piece displays its own characteristic features, and at the same time interrelates with one another. In a broad sense, this interrelationship is reflected throughout the entire work. Furthermore, since Schönberg did not allow any simple, meaningless repetition in his works, his avoidance of repetition can be seen through all the musical methods, in various ways, not only in the melodic, chordal, rhythmic ways, but also in techniques, ranging from the internal structure to the external and formal. The irregularity on the surface overall, however, results from a sort of concealment technique for the internal regularity. In particular, symmetrical elements here carry weight in the whole structure of the opus as well as the structure of each piece. To sum up, 《Six Little Piano Pieces》 shows how the double-edged meaning of an 'idea', Schönberg's fundamental intention, materialized not just for a single piece but for a perfectly organic structure of the entire work.