Delaminate demonstrates the use of augmented sixth chords (It+6, Fr+6, and Ger+6), as well as the Neapolitan sixth, and mode mixture. It is written in a modified ballad form (AABA) and in Emi, though the second A section ends in Ami (the iv). The piece is in common time. While the piece is mostly written in four-part harmony, this piece is explicitly for piano as identified by the voice crossovers, fifth voice in the B section, and overall impracticality of singing this piece.

The A section introduces the theme of 8th and 16th notes in the treble clef which descends and is repeated, though ascending, in the bass clef. In m.3 there is a minor iv chord which moves into a Ger+6 chord, which acts as a predominant, and the V, ending in a half cadence (HC). The key shifts into the parallel minor at m.5 and continues into a common tone modulation (E being the common tone) bringing the piece into Ami. This is not secondary dominant modulation as the Emi is not heard as being a dominant chord during this transition. Measure 6 has an It+6 chord that continues on to the V-i followed by the bII6 (N6)-I-V of the original key. The first ending ends on a half cadence (HC) once again and repeats through into the second ending. The second ending repeats the chord progression in the first ending but in the key of Ami. The bII6-i6/4-V are all in Ami.

The B section radically shifts the tone of the piece and has a distinct feel of a soviet dance. The melody is left alone in the treble clef and the fourth voice moves down into the bass. The first motif of the B section consists of repeated 8th notes and a flourish of 16th notes that tonicizes the chord tones of the Ami chord. The bass notes throughout the B section stay consistently in quick 8th note chords in various inversions followed by an 8th note rest. The tempo picks up in a molto accelerando until the end of the B section. Measure 13 introduces the second motif of the B section which is mostly arpeggiated chord tones. Measure 15.2 uses a direction modulation from Ami to Ebmi. The first motif then repeats until m.20 which resumes arpeggiations that move through different keys. Measure 22 uses a Fr+6 that generates a little bit of uneasy to the transition. The minor iv is also used in this section as mode mixture. Measure 24 rapidly decreases tempo with a quick succession of chords in the key of E before the final A section. The bII is used here again, although unusually not in 1st inversion.

The second A section is the same as first, though the ending resolves to Ami.