Alegoría Tri-partita is written taking into consideration the possible instrumental combinations of the ensemble as well as the individual voices of each instrument.

Each one of the four sections of the piece are defined by gesture, rhythm and melodic treatments as well as the instrumental possibilities the instruments may have. Each of these sections is linked to the next one by a transition which also contains elements that develop throughout the piece in different contexts.

The first introductory part presents contrasting ideas, which develop into a virtuoso climax on the three instruments. The confrontation of tremolandos, pizzicatos and piano cascades, disintegrate into the pizzicato of the strings which leads into the first transition which transforms the pizzicato into a new texture that combines left hand pizzicato and col legno. This leads onto the second part of the pizzicato in which the strings plays mostly microtones in arco jeté.

The second transition is characterizes by the lack of pitch (tonlos) in the strings and the glissandi of the piano inside the strings, which leads to the third part that brings new material muted with a heavy practice mute in the strings.

The last section of the piece is the most melodic for the strings and in the coda elements of the introduction return to conclude the work.