The piece is in binary form.

a (measures 1-8) + b (measures 9-19)

  The key of the first section (a) is C minor. In the second section (b), it modulates to the relative major, E-flat major.

Overall, the harmony progresses chromatically downwards. Therefore, the harmonic function is only perceived through the cadences at the end of sections, but the overall descending line tends to be more prominent.

  In measure 8, there is a half cadence on a V7/3rd inversion in E-flat major, but the 7th of the chord in the bass is not directly resolved; instead, it leaps in the next measure. Such harmonic progressions are often found in Gillock's works. However, in cases where the 7th as a tendency tone (※the 7th of a dominant seventh chord is a downward tendency tone that resolves by descending a second to the chord of resolution) does not function as such, especially at section breaks like this, it is desirable to perform the new phrase with a clear separation, without creating a sense of connection, for expressive purposes.