I. "Litania: Paghingi ng Kapatawaran" (Litany: Asking for Forgiveness; Kyrie) focuses on the plea for mercy. This is symbolically represented by the gradual thickening of the musical texture (a process of layering sounds), as well as by the accumulation of preparations gradually introduced into the piano, which functions simultaneously as a representation of the inevitable accretion of sins, leading to this supplication. Amplification, reverb, and delay also increase, intensifying this process of accumulation and accretion.

II. "Imno: Pag-aalay ng Papuri" (Hymn: Offering Praise; Gloria) focuses on the act of praise and experience of joy, conveyed initially by drumming sounds (result of preparations from Kyrie). A "melody of joy and ecstasy" then enters above this drumming, with improvised moments (joy can not be contained by notated music). Melody and drumming gradually accelerate, merge, and ascend, becoming tremoli (rapidly repeated notes) and reaching highest register of piano, continuing onto the wood of the keyboard: joy is not confined, but is released into ecstatic realm of "the beyond."

III. "Pagpahayag ng Pananampalataya" (Proclamation of Faith; Credo) focuses on the maintenance of faith, here metaphorically represented by the act of maintaining the resonances of the piano strings. Durations of notes are determined by the durations of their resonances. The entrance of new pitches and gestures (gradually accumulating, accelerating, and becoming more chromatic) interfere with these resonances; performers must strive to maintain these resonances. Credo ends with a "hymn," acceptance of the constant presence of the resonances, evoking the omnipresence of God: our faith is our God. Credo uses a pre-existing piece: Pananampalataya, for solo piano. One must have faith before one can truly worship.

IV. "Aklamasyon: Awit ng Pagkakaisa" (Acclamation: Song of Unity; Sanctus) mirrors the joy and ecstasy of the Gloria. In the treble register, an isorhythm is used to convey this joy, evoking connections to Renaissance models as well as Olivier Messiaen. Deep bells sound in the bass register, followed by a melody based on a Sanctus plainchant. The relation between harmony and rhythm constantly shift, conveying a sense of the "unending" through this "hymn of praise." Uses 27 harmonies and a non-retrogradable rhythm: the 9 ranks of angels, thrice in praise through eternity.

V. "Litania: Pagpapatawad ng Mga Kasalanan" (Litany: the Forgiveness of Sins; Agnus Dei) requires that both players be playing the "inside" and "beyond" the conventional range of the piano: this is a "turning in" as well as a "going beyond." The pedals are used to establish a rhythmic pattern upon which are layered delicate gestures played on the strings and other parts of the piano. Preparations are gradually removed (the forgiveness of sins entreated through the Kyrie is granted during the Agnus Dei); piano reverts to its original state. Through delay and reverb, the sound technician "lifts" sounds played by the performers and amplifies them, revealing these sounds to listeners.