I. Introit and Kyrie
The horn motif in ms. 3-6 becomes one of the major elements of this work. It's also the last thing heard at the end of the Agnus Dei. The motif reversed becomes the bass entrance at m. 23. The conductor is urged to conduct ms. 71-96 in two beats to the measure, thus easily allowing the 2/2 and 6/8 measures to speak clearly. Measure 75 becomes the fugue subject later developed in m. 87. And finally, look for the heavily disguised 12-bar blues patterns found throughout this section in ms. 7-18, 57-68, 75-86 and 99-110 (highly altered).

ll. Gloria
This section is unified by the use of the descending jazz blues scale (Bb Ab F E B Db Bb) used throughout the piece. Chords are constructed on these tones in ms. 20-26. The soprano solo at m. 41 is taken from the soprano melody found in m. 7. Again, this solo is built over the chords constructed on the blues scale as described earlier. Measure 63 returns us to the beginning and the section ends with the “Amen,” built on the blues scale chords.

lII. Credo
The Credo uses references to plainsong chant, again positioned over a 12-bar blues pattern. This time it’s not so disguised, with the bass line reminiscent of a jazz bass accompaniment.

lV. Offertory
The Offertory is based on Psalm 138 and uses a tenor scale of C Db B E F G A. The melody of the refrain in ms. 19-30 and 39-50 is from the 4-note horn motif in the Introit in all its possible permutations and inversions. Again, the 12-bar blues progression is found in the accompaniment during the refrain sections.

V. Sanctus and Benedictus
The blues pattern is very prominently used here, beginning in m. 5. The soprano solo at m. 57 is taken from the orchestral melody in the first eight measures of the Offertory. The chorus and soloists end this section, recalling the “Hosanna in excelsis” from earlier in the piece.

Vi. Agnus Dei
The Agnus Dei is constructed around the American hymn tune, Nettleton. An original orchestral theme is introduced in m. 3, followed by male voices entering on the “Agnus Dei" in m. 19, and again followed by the “Dona nobis pacem” with female voices in m. 37. All of this comes together in m. 54. Measure 71 begins the ending, recalling the chord pattern established in the Gloria section. The piece ends with the original 4-note motif from the Introit.