The instrumental guitar piece features a fairly straightforward construction.
Anija’s instrumental guitar piece consists of an ABABC structure. In the key of A minor featuring small modal digressions.
Harmony and form.
First, this instrumental guitar’s «A» section features two smaller subdivisions. We’ll call them «a» and «b.»
For example, the «a» part consists of a repeated four-measure unit with a harmonic rhythm spanning two measures. This progression I-V is in the key of A minor. Thus, using the natural minor scale and introducing the folk and modal.
The «b» part consists of another periodic and repeated four-measure unit with the same harmonic rhythm. But, it is in the same key; the harmonic content is in the chord progression, IV–I. And the melodic content of this part features a slight appearance of the chromatic C# note. Even so, this note functions as a chromatic neighbor tone to the natural D.
The harmonic content of this section is simply an alternation of the I and II chords
Section «B» features a certain level of digression from the previous parts. In other words, it is F Lydian mode. The chord progression for this section is simply an alternation of I and II chords, which is a typical Lydian mode progression. And above all, the F Lydian mode shares the same collection of notes with the A natural minor scale.
The harmonic rhythm of this section is the repetition of two measures. One with F and the other with G. And that ends with a descending bridge from F to G.
C section is the most divergent of all. It features the most significant degree of tonal direction. Because for the first time introduces chromaticism. And it utilizes chordal structures of higher complexity.
The harmonic progression is ambiguous, after cadencing on A minor
The harmonic progression is F major; It starts with A minor and G minor. Followed by a cadence featuring V–I in said key. Even so, this cadence is then deviated by moving on to a B Flat major triad. Which then rises chromatically to Bdim before approaching the cadential E dominant seventh.
Furthermore, it is the pivotal section of the piece which, after producing the most muscular cadential movement to the A minor tonic of the work. Then, finally, it goes into the coda.
To sum, the piece features an improvisational coda based on the progression of the «A» section. In other words, I-V ties the formal scheme together. And producing a significant degree of coherence between the parts. Also, this standard part features some of the most common closing features, like tonic-based harmonic progressions. And the repetition of a single harmonic scheme, no introduction of new materials.
The melodic content of this instrumental guitar piece is very lyrical yet at the same time highly idiomatic for the guitar.
For example, it features repeating figures. And a surging contour from low to higher-pitched notes. Using more steps as it goes higher, emulating the movement from lower to higher guitar strings.
Finally, the final coda section is more elaborate than the other parts. Since it relies more on soloing than harmonic content, also, this formal segment uses different techniques than before, like double notes (thirds, sixths, and octaves). And faster figuration, especially on the high E string.