The form is a sectional form.

a (measures 1-4) + a1 (measures 5-8) + Coda (measures 9-12)

The key is F major. The harmony demonstrates a truly Gillock-esque colorful application. The phrase begins with a dominant 7th chord leading to an imperfect cadence, followed by a chromatic descent for three measures. The chord in measure 3, though enharmonically equivalent, becomes a double dominant in the key of VI if A-flat is replaced with G-sharp. In measure 4, this is harmonically resolved by a substitute chord, I+6 (an I chord with an added 6th, consisting of F-A-C-D, which when reordered becomes VI7 (D-F-A-C)). Incidentally, measure 3 can be interpreted as an anticipation of the constituent notes in measure 4.

Measures 1-4 and 5-8 share the same harmonic progression, but the ending in measure 8 enhances the sense of finality by presenting the tonic chord (I+6) as a chord in half notes, rather than an arpeggiated line. The harmonic framework in the coda involves the subdominant chord IV resolving harmonically to the tonic chord I. The note A in measure 9 can be regarded as a non-chord tone anticipating the constituent notes of the subsequent I chord.

While this work is rich in harmonic elements, much like Debussy's music, one can approach its charm more closely by perceiving the color in the harmonic movement rather than focusing on strict functionality.