While PATMOS is associated with several texts, it is not commonly included in modern hymnals. This arrangement adapts the melody into a syncopated bass line that drives a series of twelve deeply-textured variations. Most of the parts are accessible to intermediate cellists once they get used to the syncopated rhythms.

The first two repetitions introduce the altered melody in cello IV with trading eighth notes in the upper parts. Next, an upper harmony part is introduced, then the melody flips above it. The fifth repetition introduces the original melody in straight quarter notes for the first time, with other parts joining and changing key in the sixth repetition. Iteration seven is the original four-part harmonization transposed to G major, followed by a slightly-altered harmonization with a few contemporary dissonances. The ninth iteration reintroduces the syncopated rhythm and transitions back to G major, setting up the tenth repetition with two octaves of the altered melody and a descant. The final two verses revisit sparser split arpeggios over the altered melody.