This setting of the Easter Proclamation uses the text of the Roman Sacramentary and that volume's adaptation of the traditional chant.

The majority of the text is carried by one or two soloists.  As the Sacramentary indicates, Cantor 1 should be a deacon or priest.  For the sake of contrast, Cantor 2 may be sung by a woman.  If a deacon or priest does not sing Cantor 1, use a male voice, but make the omissions required by the Sacramentary (indicated in this edition by brackets).

The choir acts as a foundation for backdrop to the chant of the cantors, using three devices from medieval practice:

a) Ison: singing a sustained tone underneath the chant;
b) Organum: the choir singing in perfect fifths around the chant;
c) Murmur: singing with the cantor, but "sotto voce," barely audible.

In order for this to be edifying and practical, the choir must:

a) sing with straight tone:  It will be impossible to tune unisons or parallel fifths with conflicting vibrato.
b) serve as a backdrop to the cantor:  The choir's role is to highlight and extend the chant, not to be the focus.

This setting works best when the choir is standing in close proximity to the paschal candle and the cantors.  Distance tends to make the chord changes inaccurate.

Since the Proclamation serves as a transition for the assembly from the Service of Light to the Liturgy of the Word, it does not end in a loud fashion.  The climax (musically) is the section which begins "This is the night..." After these sections, the choir pulls back, ending the chant quietly, as it was begun.