"Exsultet" uses the text and melody of "Exsultet", the ancient gregorian version of the Christian liturgy. A soloist begins the composition conventionally by singing the original version. Space, clearly artificial, is the only variant.

The voices of the other singers slowly follow one by one. However, all the vowel sounds (that is the tuned sounds) have been electronically removed and only consonants have been retained.
In antithesis to this material, a second type of treatment of the material (in which tuned vowel sound stand out) has been adopted.
Besides "Exsultet", another two chants: the "Alleluia-Pascha Nostrum" and the "Alleluia-De Profundis" have been used for this elaboration. These pieces were sung in the Fossanova Abbey and recorded in a way that greatly enhanced reverberation of the surroundings. In order to make the variations and the overlapping sounds generated by the acoustics of the Abbey more perceptible, all the sounds have been temporally time-stretched using the technique of "stretching" from eight to ten times. The time-stretching of the reverberation generates a very rich and varied sound texture. Halfway through the piece, the entire text of "Exsultet" is recited in a whisper by one singer overlapping the sound. Even this type of recitation - in which the text remains imperceptible - acquires value as a texture of quite a diverse genre.