The title Tehillim (1981), the Hebrew word for "psalms," succinctly connotes two key aspects of this composition and its importance: first, the word suggests the vocal-textual nature of the piece, particularly significant since none of Reich's previous compositions includes texts set in a conventional manner (though It's Gonna Rain (1965) and Come Out (1966) do make strikingly unconventional use of text); secondly, both the title and text of the composition evoke Jewish traditions, which from the mid-1970s became increasingly central to Reich's self-understanding. Though not aware of the richness and depth of his own ethnic and religious heritage until he was in his late thirties, Reich's intensive studies of the Torah, Hebrew, and scriptural cantillation gave him a larger historical framework from which to view his life and music. These features of Tehillim, combined with a free melodic approach unheard in Reich's previous endeavors, characterize an emerging style for the composer that is decreasingly systematic and increasingly personal.

Each of the four parts of Tehillim—respectively marked fast, fast, slow, fast—draws its text from a particular biblical psalm. While the Hebrew words carry extra-musical associations for the composer, he also chose the language because it is no longer commonly spoken; like Stravinsky's use of Latin in the Symphony of Psalms, Reich's Hebrew texts are not bound by the strictures of linguistic accent and syllabism, therefore providing greater melodic and rhythmic options. Reich indeed exercises such liberties throughout Tehillim, balancing the solemnity of the texts with vocal lines that quickly shift in both mood and rhythm.

Tehillim's instrumentation includes woodwinds, keyboards, and strings, as well as four vocalists (two each of sopranos and mezzo-sopranos). True to form, Reich also draws on a battery of percussive resources, from familiar mallet instruments to exotic hand drums and maracas, imitating vocal canons with interlocking patterns. In addition to this instrumentation, composed after the model of his own performing ensemble, Reich also scored Tehillim in a version with full orchestral accompaniment, allowing orchestras to program this—his most accessible and immediately engaging work—in a traditional concert setting.

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