The visual form of the first Scherzo painting is an "equal plane/independent movement" interpretation of the upper and lower sections. A new element was introduced in this painting, one that will assume greater independence and importance in later paintings: a concrete boundary line between the architectural and landscape images. Instead of having these areas simply meet each other, as in the last two paintings, here a solid red line, two inches high at the meeting point, separates the images. This boundary line moves according to the violas throughout the entire painting. When the violas begin their tremolo in the eighth measure the line is sliced into segments 1/4 inch wide and the color alternates between the original red and a lighter, oranger red. This continues until the painting ends.

The St. Florian's image, occupying the top half of the painting, fractures to the second violin part, which frequently is the same as the first violins. In its rendition, another innovation in my system appears: a new articulation technique used for a visual tremolo in an image line. All fiberglass strips in the architectural image running throughout the painting were cut into 1/4 inch wide pieces. Then the strips were placed up and down on the wall, in melodic formations consisting of one or two inch units, there was a small 3/16 inch space left between each unit. Because many of the lines on the staircase are diagonal, the strips, when returned to their original positions without the spaces between them, carry an image of constantly broken lines, much like the picture a computer generates through dot matrix. This is a "visual tremolo".

The Alpine image represents the cellos and double-basses throughout. There is no tremolo here, just a straight fracture of the image. The Alps account for the lower half of the painting. During rests in this line the architectural image occupies the entire strip.

The glaze value-changing system makes visual the first mezzo forte grace-note and half-note on the dominant. The dominant's glaze is dark due to the high dynamic level. Except for these two incidents in the beginning, and two more mezzo forte points in measures 8 and 10; the glaze is kept at a very low, constant value, acting only 8in a harmonic capacity. Harmonic glazes just express key movement and harmonic qualities. The glaze becomes linear again in the 11th measure of the painting while playing the oboe line, changing to the trumpets in the 19th measure through to the end.

Because these paintings are re-orchestrations of the original score, sometimes lines which echo one another are combined into, or represented by, one image. This can be compared with making a piano score from an original score for full orchestra. Such a situation applies significantly in the paintings derived from the Scherzo. It actually occurs in most of the paintings, but when there are so many lines echoing each other it is more prevalent.

The painting begins in C minor (yellow) and passes through F minor on the way to Gb major (yellow-orange). The interesting thing here is that because of the relationship between minor and major keys on the wheel a minor key is the same color as the major key located on the note a half step above. By using F minor as a bridge between C minor and Gb major I think that the two F-minor measures before the Gb are actually functioning as diminished 7th chords. It is then appropriate that F minor is the same yellow-orange as its resolution, or Gb. I decided to emphasize here the relationship of minor mode to major mode by giving a thin, blackish over-glaze to the minor measures. Also, as Bruckner has put in some dissonant color of his own in the form of diminished and half-diminished chords at the beginning of some measures, I have used a very grey hue based on these chromatic chords at those places. In the 11th measure the Gb key goes by thirds to its submediant, or Eb minor, so the basic hue becomes red-orange, soon to be alternating with Gb-orange due to dual or pivotal functions. Later on (in the Finale) this treatment of pivotal chords will be fully developed into a flickering alternation between the colors of the keys involved. The key then moves back to its F minor state, and again back to Gb major. Therefore, most of this painting is an orange hue. The last chord is F major. I chose to color it the yellow of C minor instead of an F major blue, preferring to recall the original F tremolo in the beginning of the first movement as the subdominant of C minor.