In the third painting (second theme) St. Florian's keeps the theme, now played in the cellos. It resumes the inner image position in the continuation of an "image-overlay" visual form. The size of the strips grows larger and smaller, as does the scale of the image from the painted ceiling of St. Florian's church. One can read the melody of the theme only on the bottom line of the inner module, as the top line accommodates dynamic changes.

In the first painting of the Adagio two complete and independent images (although the same Alpine picture) were painted in two different colors. These were combined to make an "expanded" landscape. This painting has the same landscapes above and below one another one image occupying the upper two thirds of the painting and the other the bottom one third.

The visual tremolo of the strings is achieved by changing from blue landscape strips to green landscape strips every 1/4 inch (0.63 cm). The top landscape consists of strips which are twice as long as those in the bottom landscape. The landscape, in the upper position during the painting process, was painted in blues and the lower one in greens. After uniting all the long strips and likewise the shorts, the taller top image reads blue, green, blue, green and the shorter, bottom image manifests the opposite order. A visual tremolo is thus produced in two ways; through image color change every 1/4 inch (9.63 cm) and by moving the two images in and out of synchronization with each other, as the two versions were painted by eye only, without the help of mechanical aids such as projection machines. I did this purposefully in order to reproduce visually the kind of choices a musician has. A score rendered exactly to the beat would be quite boring. "Art is made through rhythmic and articulatory manipulations. If the two landscapes' images replicated each other exactly, only changing from blue to green-- as if one had cut up two photographs whose only difference were blue or green color filters in the printing process--the resulting image would be very sterile. It is far more interesting to watch these two images move in and out of synchronization in a surprising, unpredictable way. For me, this is a visualization of what happens when an artist plays music. But even this irregular element is repeated exactly; the upper and lower synchronizations are echoes of one another. After all, they are combinations of the same two images. Another very noticeable movement occurring in the landscape line results from scale changes in the image. Dynamic changes create huge scale changes which are also doubled in the top and bottom images.

One might wonder why the top image is twice the area of the bottom. This was a visual-orchestrational decision based on the principles of visual form. I did not want to have a symmetrical division of space. The music has dynamism and movement better expressed by an off-center composition. I made the decision to have two landscapes while focusing more and more on the language aspects of music. Redundancy, or repetition of the same ideas, is part of what separates "noise" from "information in language. Music can do this by doubling themes in several lines.

There is an independent, floating line which is a tremolo. It begins quietly in the 5th measure (No. 61) of the painting at a height of 1 1/2 inches (3.8 cm), growing with the dynamics to 4 inches (10 cm). Its tremolo is expressed by alternating 1/4 inch wide segments between red-orange and deep red. The musical line it represents is that of the violas.

The glaze is actually only harmonic up to the oboe line (also echoing the St. Florian line) in the 7th measure of the painting, and then resumes with the falling flute scale in the last two measures. It is of a medium value (intensity) until the 5th measure where it becomes very light, due to the fact that the horns (whose pedal tone is being portrayed) fall silent. A 4-3 suspension, also in the horns, begins in the 3rd measure and resolves in the second half of the 4th measure. It can be seen as greenish grey (made from E major red-orange and its blue-green complement) resolving in red-orange. The 5th measure sees key movement by tritone to F minor (yellow-orange). This color will remain through the end of the painting. A very light minor key over-glaze was also applied.