The new development occurring in the Trio painting determines the erstwhile boundary line, previously tied to the line between two images, as a separate element. It can now move independently or stay within the boundary at will. In this painting the boundary- now simple intervening-line moves to the little ornamental motive in the horns, first in measures Nos. 8, 9, and 10 and then in measures Nos. 13 through 16. The line now changes colors just as keys change. This changing hue line will reappear in the third theme of the horn line, going from two inches (5.1cm) to four inches (10,2cm).

The lyrical melody in the first violins is carried by an image of high mountain peaks with dramatic clouds in the upper half of the painting. The lower half of this "equal plane/independent movement" painting is given to the second violins, frequently including the cello line. These parts are represented by the inside of the Prandtauer stairs; the line is pizzicato for the first half of the painting, and therefore better embodied by architecture. In order to achieve visually the articulation in a pizzicato line I left some space between the strips while painting on them, as in the tremolo of the Scherzo. (The breaks in the line are more easily seen in an architectural image than in a landscape as there is a more regular order in architecture.) The glaze is a linear glaze, reproducing the cello/double-bass line. When there is a rest in one of the figurative lines, the other image takes over the complete strip.

The simplicity of one lyrical melody moving against a 2/4 rhythmic line contrasts with a very complicated, ambiguous harmonic structure. Because of the ambiguities certain passages could be interpreted in two different ways. I believe that this is deliberate on Bruckner's part, and have therefore devised a visual formula which preserves the possibility of two meanings at once. In the first two measures of the painting it is unclear whether a rhythmically regular way between green-yellow and yellow-orange. I chose to begin with green-yellow because the Trio ends on Ab major.

This section also has a liberal use of Neapolitan-sixth-chord entrances into new regions. In the 10th measure the region of B major (orange) is entered in this way. The region continues until the 13th measure where Gb major is also preceded by its Neapolitan sixth. Both of these sixths follow similar patterns; the preceding chord is one fifth below, so it sounds like the movement is to the dominant chord, but the chord is really a Neapolitan sixth (N6) to the key a tritone away from the first chord. Therefore, even though what is modulated to is far away from the preceding key, it is a smooth transition, sounding relatively consonant. I have in these two cases given the N6 (Fb6) of Eb major (green) is approached in a much more dissonant way, through a C4/3 chord, which is a tritone away. I have therefore given this N6 a dissonant number of 5, or a 50% content of complementary color.

The aforementionend Eb green of measures 3 and 4 moves by medient to Cb (enharmonic B or orange) in measure No. 5. There is a small amount of red inserted from the chromatic dominant of Ab minor at the end of measure 5. This red mixes its color with the orange of Cb through half of the 6th measure, which then becomes completely orange until it changes to Eb-major green at the end of the 7th measure. This continues until the N6 entrances of B major orange in the 10th measure, ;lasting until the step wise movement to C major-blue in the 13th. The end of measure 13 has the N6 to Gb orange, briefly interrupted by green from Eb major. Measure 15 introduces Db-major yellow which lasts until the end of the painting.

The extremely active chromaticism of this section can easily be seen in the way the colors skip around the color wheel. This is in direct contrast to the last painting (the first from the Scherzo) which pretty much stays within the yellow-to-orange range. I have also continued with the minor-mode extra glaze that began in the Scherzo. Key connections of mediant, tritone, or step wise movement are not specifically encoded into the system, as this happens naturally through the use of the color wheel. It is also not necessary for me to try and make a visual difference between regions and keys, as this , too, is automatically seen through the duration of a color.