Good Day, Sir Christemas! treads a middle path between completely seamless structure and a strophic form. The melodic and rhythmic material of its opening pages is never far away, but alternations of imitative polyphony and rhythmically energetic homophony blur the divisions between verses to some extent. In this sort of musical exercise a climactic ending is never in doubt, and this sends the uppermost sopranos to a stratospheric note before a final unison Good Day! which is almost a shout. The music is relatively diatonic in a modally-inflected way appropriate to its mediaeval text, but presents challenges in its requirement of unflagging rhythmic alertness combined with vocal agility and clear, precise intonation.