This concerto follows the traditional fast-slow-fast three-movement configuration. Movements I and III fit the category of sonata form, and movement II is a seven-part rondo. Harmonically, the conventional tonic-dominant relationship for expositional themes is ignored in favor of a more turbulent tonal language. All twelve chromatic tones are utilized (albeit some quite fleetingly) as tonal centers. Though rapid harmonic fluctuations permeate the composition, B-flat major is the overall "key" of the whole work, with two secondary tonal centers G and C. - the publisher