The piece uses a combination of harmony and orchestration (as well as rhythm, dynamics, and articulation, of course) to differentiate various sections and characters. The harmony is often stratified by range and orchestration. For example, the low tubas and euphoniums are often in one key or scale, while the high flutes and clarinets are in another, and each of these groups has its own contrasting character. A polyphonic example of this is at letter F8, where the clarinets play a pan-diatonic polyphony in contrast to the parallel interval melody of the violin. The parallel intervals of the clarinets match that of the violin.

The lowest instruments are often diatonic, which causes the upper parts to appear as related to the higher harmonics of the lower parts, even when the higher instruments are playing pitches that are more distantly related to the key of the lower instruments.

There is extensive use of the "octatonic" ("diminished") scale, which has a kind of built-in implied poly-tonality, due to its internal symmetry. (See, for example, the flutes at measure 88, or the horns at C2, or the trumpets at B4) This scale features the minor third prominently, which explains the frequent use of diminished triads in the piece (as at the opening in the flutes and clarinehere is a general motion toward more consonant harmony over the course of the piece. This is presented in microcosm in the first section (up to letter B1), as groups drop out one by one, thus simplifying the harmonic combinations. The violin cadenza at H1 is in the manner of a Gregorian chant, with episodes that recall material from elsewhere in the piece. The final section of the piece at I1 is primarily in the key of E, with a large emphasis on D as well, leading to a dorian/mixolydian mode feeling (depending on whether the minor or major third is emphasized.)

Each solo section ends with a thickening of texture that leads to a quiet tutti cluster passage (rehearsal letters C1, E1 and G1). The choice of cluster scale is related to the preceding solo music. These clusters are first chromatic (at C1), then octatonic (at E1) then diatonic (at G1), again emphasizing the general move toward consonance.

All of these devices are intended to convey a "landscape" (or "soundscape") metaphor, with horizontal layers of timbre and tonal colors, but one that is in some sense alien, as might be found on a distant planet. The violin plays the role of the "explorer" in this alien terrain, but one that is himself transformed by the experience. A more complete analysis would look at the kind of material that the violin plays and how this gives rise to or relates to the material in the band and how harmony supports these relationships.