There are many examples of consonance throughout the poem, which fill the speaker's language with music and intensity. Listen to line 1, for example:
My father's in my fingers, but my mother's in my palms.
This line, which is repeated (with variation) throughout the poem features both /f/ alliteration and /m/ alliteration/consonance. As a result, the line feels lyrical and memorable. The /l/ consonance and alliteration in the second line work similarly:
I lift them up and look at them with pleasure—
These gentle, lilting sounds evoke the pleasure the speaker feels when they see their parents' reflected within their own body.
More consonance appears in line 10, with its crisp /p/, gentle /t/, liquid /l/, and soft /s/ sounds:
I shape a chapel where a steeple stands.
All this consonance makes the line stand out to the reader's ear, in turn calling their attention to the image of the speaker recreating their parents' marriage with their hands. And in lines 12-13, humming /m/ sounds and whispery sibilance create a solemn, reverent tone:
[...] my mother's by my palms
demure before a priest reciting psalms.
Thanks to all this consonance, the scene sounds peaceful and hushed.