Byrd's verse anthem Christ rising again was published in his Songs of sundrie natures (1589) and was also circulated widely in liturgical partbooks in the late-Elizabethan and Stuart periods. Verse settings by Batten, John Holmes, Tomkins and Weelkes drew on Byrd's material to varying degrees. Weelkes's indebtedness to Byrd is evident in the rising motifs at the opening of both parts, ascending sequential phrases, most vividly in bars 112-17, and breathless word-painting at 'to life' (bars 117-19). The scoring of the verse sections for upper voices {apparently) also reflects early practice. Characteristics typical of Weelkes include quasi-canonic writing and the deployment of a limited number of motifs to achieve continuity and integration. In the concluding 'Alleluia' both the principal motif and the spate of false relations recall the closing section of Edmund Hooper's Behold, it is Christ. Further examples of extravagant chromaticism in Weelkes's sacred music may be found in the closing sections of his Alleluia. I heard a voice (and its contrafactum in the 'Fourth' Service 'for 'trebles') and O Lord, arise into Thy resting place.