Thus the structure is based on the principle of contrast of the line-up (solo – duet – solo – duet – solo, cadenza – duet) as well as of the metrorhythmic order. The solo parts are notated without the bar line; only specific rhythmic values (limited to quavers and crotchets) regulate the relations between the notes. There are no regular passages and the joining of quavers into groups of three, four, six etc. suggests constant fluctuations in the length of quasi-motifs, which often make use of a pendular movement of thirds, or second-based interval structure.  Metrically regular fragments (there are no metric markings, but the length of bars indicates the 4/4 metre) in the duet segments are characterised by a lilting, nocturne-like accompaniment with a counterpoint of the violin and the piano parts. Change comes only in the last chamber episode – the piano provides a chord-based background for the highlighted violin part.