Through the portfolio of compositions, emphasis shifts from a focus upon ornamentation towards the ritual form, developing into a dialogue of potential relationships between these two concepts. Drawing from music as early as the Spanish Renaissance to the very new, the visual arts, architecture, and my own illustrations, I express ornamentation as a distinct set of activities which include the figurative, behavioural, layered, and the architectural. I argue that this behavioural aspect of ornamentation is exemplified by states of transition, density, kinetic energy, articulation, and the organic. The ritual form is examined through its components of procedure, occurrence, symbolism, and the ‘other’—a multi-modal container in which exploration, collaboration, worldbuilding, and a rupturing of norms can take place. Excerpts from the portfolio of works are weaved throughout, however, four case studies are used to draw these ideas together and provide a more detailed examination of the implications ritual and ornament have upon other musical aspects such as shape, sketch, timbre, pitch, notation, and collaboration. These works are Tor, for quintet including double recorders; Through Gates Unseen, for orchestra and ‘staff’; concordia [temporum], for detuned piano and quintet; and lastly the multi-year long project for saxophones, Offering. Through these works and the accompanying commentary, ornamentation is framed as, or embedded within, the ritual form. Ornament is made ritual, and ritual made ornamental.