During the year 1952, Morton Feldman composed only a few works, each of which possesses several similarities: each work is scored for the piano, each work was premiered by David Tudor, each is rather modest in proportions, and most importantly, each shares a very similar pitch structure with the others, both in terms of the particular sonorities that Feldman employs and in terms of how these sonorities are juxtaposed and progress throughout each composition. This essay will show how Feldman, during this early stage of his career, was using a unified pitch language, and furthermore, how one can perceive his pitch structures not only as isolated sonic events, but with clear and integrated relationships to each other. The primary compositions that will be the focus of the paper are Piano Piece 1952, Intermission 5 and Extensions 3. The essay will be in the form of a comparative analysis, using set theory to draw relationships between the pitch structures in each composition.