The structure of the American folk song is fairly simple. It is either like the standard hymn: a single melody repeated with different lyrics; or it is like the standard pop song: several different verses (with the same melody) separated by a recurring chorus or refrain. On the other hand, there is a greater overall structure as well: first very playful, then more somber, and finally returning to the humorous, sarcastic, and somewhat satirical tone.

In the case of "Cindy," the young woman depicted in this American, mountain-region, banjo tune is incredibly sweet and appealing. She wants nothing more than to marry the singer, who in turn swears that he will indeed marry her ("sometime"). Yet when she finds religion, Cindy becomes devout and somewhat introspective. Of course, this does not last long, and Cindy returns to dancing and flirting, so much so that no man will ever marry her. In Afternoon, Cindy, Cindy: It's a Tough Life, the overall structure follows the pattern established by its namesake.

The third movement, Mountain, is not based on any particular folk song but expresses Kay's own musical voice through the American folk style. The fourth and final movement, Lost in a . . ., no longer takes after the folk traditions. It remains in the modal language of the first three movements, and it retains the practice of long pedal points in a particular key (folk songs never modulate), but it does not have a catchy, memorable melody, only snippets of a recurring motif. It is driven by the rhythm and color, pressing forward, always searching. Finally, the whole work converges in its final statement: an unfinished chorale just as it had begun.