There is great freedom in the fugal sections. The vigorous fugal writing of 'Cum Sancto Spiritu' is surrounded by the majestic homophony of 'Quoniam tu Solus Sanctus' in the Gloria. Also unconventional is the fugal treatment of 'Et Vitam Venturi' where the choral tutti is reserved until after the exposition is completed and sealed off by the orchestra. Maybe the only conservatively designed section is the Osanna passages. The choral basses quietly starts the piece without an orchestral preamble as in some of Haydn's Masses.
Gentle modulations prevent the blandness of largely diatonic phrases.
The tripartite symbolism of the Trinity is reflected in the three-part text, three distinct musical sections and by placing the central Christie in a key a third higher. Beethoven's detailed tempo marking, Andante con moto assai vivace quasi allegretto ma non troppo , shows his concern that the movement not be taken too slowly. Gloria is created by pitch, key and dynamic changes. The broad diatonic harmonies and the stability of the choral writing in the Gloria give an impression of the unchanging eternal strength of God. The outer, laudatory sections are exuberant Allegros, with the prayers of the central section 'Qui tollis' set as an Andante mosso for soloists echoed by the choir.