The form of Sahasrara may be summarised as such:
| Section | Duration | Movement | Register | Range |
| A | 18 bars | Slow | High | A4-B5 = 9 tones |
| B | 11 bars | Fast | Highest | F#4-D#6 = 13 tones |
| C | 20 bars | Slow | Lowest | B3-B5 = 15 tones |
| D | 7 bars | Moderate | Medium | C#4-D5 = 8.5 tones |
| E | 20 bars | Slow | Lowest | B3-B5 = 15 tones |
| F | 11 bars | Fast | Highest | F#4-D#6 = 13 tones |
| G | 18 bars | Slow | High | A4-B5 = 9 tones |
The Crown Chakra is the seventh in the series of energy centres.
This is reflected in the seven sections illustrated in the table above, as well as through the piece’s total duration (seven minutes). Sahasrara consists of the pitches B, D#, E, F# and A, which are employed in scalic and arpeggio-like passages throughout the piece. The repetition of these fragments creates a meditative atmosphere conducive to introspection, relating to the ethereal quality of the Crown Chakra. Being the pitch commonly associated with this chakra, B is used as the tonal centre for sections A-C and E-G. Section D, however, utilises the next most commonly associated pitch, E, as a tonal centre. The highest registers of the voice are employed in Saharara, connecting to the physical positioning of the Crown Chakra in the body.
Lyrics were chosen to reflect the inherent nature of this energy centre:
I seek the highest truth. I honour and protect my divine spirit. I know that all is good. I look within where I am safe. My spirit is eternal, loves beauty, harmony, joy and peace.
I trust that my highest good and greatest joy are unfolding now. I am grateful for all good in my life. I accept who I am and honour spirit in me. I live joy. I live love.
Sahasrara.
Fiona Pennisi-Mitchell 