As the last painting used images only from St. Florian's, I decided to make this painting solely with Alpine pictures. I used the same mountain image for both musical voices, but each image moves totally independently of the other in this "equal plane/independent motion" painting. There is also a slight difference in the scalar (that is, dynamic) changes between the two lines.

I have treated the marching theme of the strings as a background for the melody being played in the winds. The first Alpine picture is to be painted in green hues and split into upper and lower halves. The top half appears in the upper part of the painting, and the bottom half is in the lower portion. Located between this split image is a blue rendition of the same mountains, representing the wind theme. The green mountains fracture to the strings' melodic line, the blue to the winds. There are three solid lines running the length of the painting. The first occurs along the boundary between the upper (green) and lower (blue) images, following the fracturing pattern of the green. The second splits the blue image in two and follows its fracturing pattern. The third defines the boundary between the blue and the lower green image but echoes the green fracturing pattern. These lines are to be colored according to the basic hues controlled by key movement. The light/dark patterns of the glaze follow the strings.

The glazing colors begin and end on Eb minor red-organge. Starting in the 9th measure (No. 143) of the painting the colors move around the wheel by thirds in a series of dominant-seventh chords, moving from the dominant of Gb major (yellow-orange) to that of the Eb major (green), to Cb major (orange), to Ab major (green-yellow), to F minor (yellow-orange).