Owing to its exclusively linear presentation and serpentine chromatic character, PA does not have a well-defined harmonic profile. Neither do the simultaneities produced by the canonic texture. As a result, these measures are heard as a harmonic extension of the cadential harmony (F#-C#-E-A#-A) at the end of the transition section in m.12.
In m.13, the C#-E-A on the downbeat and the Bb in the voice are retained elements of the cadential harmony in the previous measure. The F#+6 chord in m. 15 (last triplet eighth) and m.16 (sixth triplet eighth) sounds like the harmony of greatest stability. Again, this perception is enhanced by the way the first three pitches in the right hand of mm.14-16 zero in on F#. Thus, the tonal analogue of a second row area (PA) in mm. 13-16 is supported by the tonal allusions that link it to RM4at the end of the transition, mm.11-12. The forms of PA in mm.13-16 are heard as extensions of RM4. The row level organization of the entire exposition, mm.1-16, is diagrammed in the table below.