The score of Ring is broken down into four sections—"General theme," "Retrograde," "Inversion," and "Noise"—which can be played in any order. Although the rhythms and pitches are specified, the exact alignment of the parts, the manner of expression, the dynamics, and articulations are all left to the discretion of the performers. Between each of the sections, the ensemble executes short improvisations, drawing their material from ring-shaped graphic scores Takemitsu has provided, and according to a number of rules regarding register, duration, dynamic, pitch, timbre, and timing.

In the "Retrograde" section, the flute takes the role of leader. Most of the ensemble phrases begin with the flute alone, and are then carried on and developed in the guitar part when it enters. Once finished with its work, the guitar usually stops while the flute goes on ahead into the start of the next ensemble phrase. The result of the exchange is an eloquent overlapping of musical arcs.

The guitar writing throughout is in that spastic post-Webern idiom, while the flute is serene, and more song-like. Naturally, our attention is more immediately drawn towards the busy flutterings of the guitar, so that in effect, whenever the guitar enters, it basically eclipses the flute by distracting us from it. When it drops out again all that's left are the sustained notes of the flute, bringing a slight shock of recognition.

In the "Inversion" section, the guitar maintains a more constant presence, creating a greater sense of interwoven parts. It culminates in a short furious dance they do with each other, for which the flute temporarily adopts the idiom of the guitar. "Noise," as the name implies, is the busiest section of the piece.

"General theme" starts with the guitar solo, drumming on the body of the instrument, sometimes giving it such a good smack that all the strings vibrate. Now the flute drifts down again, sending out in a soft fluttertongue its wistful call. Throughout, the sensation is that the two are operating on separate chronological planes: the slowness of the flute part, which seems to be drawing out the most minimal amount of material as far as possible, contradicts the guitar that tries to cram a lot more music into shorter spaces. Their relationship settles down gradually, with the flute starting phrases on unisons with guitar harmonics, like a singer taking a cue. The guitar parts, just as "General theme" closes, become more classically poised, and calm.

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