1. Antique Prelude
2. Image
3. Intermezzo – Tower Calls and Peals
4. Exhortation

Antique Prelude is antique in the sense that some of the figurations (the lively, broken-chord figures involving both manual and pedal) are imitative of those of Matthias Vanden Gheyn. Sonorities build and then dissipate utilizing rests to allow the listener to hear the bells sustain. Later, the figurations return, this time without the interruptions, reaching a climactic point at the beginning of measure 43. That climax is followed by a long terraced decrescendo to the end. The key of the piece shifts often between A-flat major and F minor, reflecting the tonal ambiguity that the minor overtones of bells often creates.

Image (American pronunciation) – something imagined or existing in the mind's eye. This could be a movie, painting, photograph, ballerina, sculpture, knickknack – anything that spurs one's imagination – something that fills the mind with wonder. One may also "wonder" about the tonality, since the writing doesn't follow traditional harmony. At various times, it passes through D minor, B-flat mixolydian, and G dorian.

The third movement – Intermezzo – Tower Calls and Peals – suggests a dialogue between two towers, also between low and high registers. It opens with a timid salutation and acknowledgement of each others' right to exist – speaking to one another through music. The movement includes an extended simulated peal of swinging bell—a monologue (measures 112 through 132) after which the dialogue continues with brief interjections, sometimes accusatory, sometimes doleful.

Exhortation – emphatic expression of a tenet, sometimes repeated for emphasis. An example of such a repeated tenet is the opening motif in the pedal and the accented motif in the treble range (measures 162 and 164). The piece is a toccata, with the main melody in the bass in slower note-values, but also with melodic figures as accented notes in the treble. Especially noteworthy is a passage which begins in the highest register, wending its way down to the lowest and strongest statement of the tenet (measures 186–194). Gradually, both the melody and the accompanying figuration work their way down to the lower ranges of the carillon, expressing a strong and profound belief. Like the Antique Prelude, the tonality of this movement is deliberately nebulous, falling somewhere between A-flat major and F minor.

—Lee Cobb