This chapter explores Anthony Gilbert’s Peace Notes (2011), a highly original and fascinating seven-movement cycle. The evocative poems by Sarah Day, full of colourful imagery and alliterative syllables, are ideally suited to detailed treatment, and Gilbert crafts the vocal lines with consummate care, incorporating some characterful ornamentation. Brief, exposed fragments contrast with longer, arching spans, and the writing becomes a little more demanding as the piece progresses. Preparatory work is essential; some rhythms, carefully honed to fit the words, could seem elusive at first, but a dedicated singer should enjoy mastering their subtleties. Extremes of tessitura are largely avoided, but Songs 3–6 (‘Iris’, ‘Margin’, ‘Piano’, and ‘Enrapt’) have some sustained passages that occasionally leave the singer suspended on a high pitch—something that heavier voices may find difficult. The piano writing is relatively unchallenging: lean, uncluttered, and lucid, apart from occasional trills. It supports and enriches the voice part but never drowns it, leaving the singer free to place and manipulate phrases without feeling harried. Dynamics are typically refined and meaningful, affecting vocal and pianistic timbres.