The Passacaglia was begun in the fall of 2002, then set aside until the February of 2004, at which time significant revisions were undertaken. It is a straightforward example of the form—a simple presentation of the theme followed by sixteen variations. Several variations, such as the first four, follow the typical progression to increasingly rapid note values and higher tessitura. Variations 5 through 8 again use increasingly rapid note values, but here the various figurations are more unusual in the carillon. (Similiarities to figurations in certain Bach harpsichord or violin variations sets are intentional, particularly in Variation 8.) The next three variations explore various forms of broken chord figures, with Variations 10 and 11 in the relative minor. The next two variations explore the highest range of the carillon. The final three variations again feature increasingly rapid figurations, with triplets, then two-to-one counterpoint, and finally flamboyant 32nd notes, with a short epilogue bringing the piece to a close.

—John Gouwens