Knot recorder, accordion, percussion, harp, strings (on album also the acoustic guitar, Uilleann pipes) Scoring for Vocalise for voices and orchestra Session singer Miriam Stockley performed the vocal parts on the first four albums. Stockley was described by Jenkins as central to the Adiemus project due to her range and intonation; however, she was not re-engaged for Vocalise. Additional vocals were provided by Mary Carewe on all but Dances of Time, which saw the introduction of the Finnish Adiemus Singers (who would later appear on Vocalise). Extra vocals and the chorus effects were created by overdubbing multitracked recordings of the singers (in some cases up to 40 times) and varying the speed of the tape. The Songs of Sanctuary orchestra consisted of a string section augmented by various ethnic percussion instruments, with occasional further additions such as bells, a recorder and a quena. Mike Ratledge, with whom Jenkins had played in Soft Machine, contributed to the first album as well. Jenkins added brass and woodwind for Cantata Mundi, and continued to add more diverse instruments such as acoustic guitar on later albums. From Songs of Sanctuary to Dances of Time, the London Philharmonic Orchestra was used; Jenkins later formed his own Adiemus Orchestra to perform on The Eternal Knot recordings, returning to the London Philharmonic for Vocalise. Singers Miriam Stockley Mary Carewe Pirjo Aittomäki Mervi Hiltunen Anna-Mari Kähärä Merja Rajala Säde Rissanen Hanna-Riikka Siitonen Mia Simanainen Nina Tapio Riikka Timonen Musical style The musical language of Adiemus draws heavily on classical and world music. Jenkins follows conventions of tonality up to a point—his harmony is derived from gospel and African music, decorated with functional dissonances such as suspensions and with greater freedom of movement between loosely related key areas. He avoids the most common time signatures, such as 2/4, 3/4 and 4/4, with a slow 3/2 and 6/8, 9/8 and 5/8 (Cantus Inaequalis from Songs of Sanctuary). "Free time" is also prominent, in this as well as the majority of new age projects. The percussion section, when used prominently, gives the pieces an upbeat, tribal-like rhythm. The sound of Adiemus is generally identified with new-age or Celtic music; The Eternal Knot is an explicitly Celtic-themed album that formed the sound-track for the S4C documentary The Celts. Audience Songs of Sanctuary was a commercial success, topping classical album charts. Though none of its successors has achieved the same critical acclaim, Adiemus