In the first variation, the melody is upside down in the style of Erik Satie's serene Gymnopedies. The second variation sets the tune in an impressionist blues style. Tone clusters alla Bartok accompany the tune in a plucky scherzo third variation. The fourth variation is atonal and diesmbodied, the tune spanning the registers of the piano. The fifth variation sets the hymn in an expressive Americana style chorale concluding with a reduction of the tune to quasi pentatonic wind chimes.