In this chapter, Cage's proto-phenomenological hunches provide openings for key concepts from Marion. Givenness and freedom, the heuristic of the icon and the idol, and the saturated phenomenon conceptually assist a theological reading of the ubiquitous music celebrated in 4'33". This chapter also introduces sacramental dimensions for thinking about sonic ubiquity. The theological appeal to Marion does not entail a phenomenological revision of insights from Cage. Rather, phenomenological grammar approximates the charitable mystery that music provides—a constant sense of what Christians might call grace that permeates the world perceptibly and indeterminately, without regard for verification. Still, neither Cage's musical invention nor Marion's phenomenological concepts operate as normative tools. Instead, both indicate a generosity that needs no supporting musical or philosophical framework to announce its nearness or justify its existence.