One of Mudarra’s compositions from the Libro segundo that is based on a polyphonic model and that alternates intabulated passages with freely composed material. These passages are marked off by indicating the composer’s name or the word “glossa” at the beginning of each section. The music is continuous and listeners remain unaware of the sectional changes. The distribution of the work is as follows:
[Josquin] 1-44
Glossa 45-56
Josquin 57-74
Glossa 75-91
Josquin 92-100

Pujol’s commentary on this piece is as follows: “Mudarra only uses the initial motive of the altus which becomes the ostinato for his glosa. And glosa here does not mean so much to embellish the motive with passing notes, quiebros or redobles, but to make it appear in its original form in different voices and frequently in the course of the composition. From bars 45 to S7 and from 75 to 92 are free glosses by the author.
This same Kyrie is found (without glosses) in the Libro de música para vihuela, by Diego Pisador. Another gloss by Palero appears in the Libro de cifra nueva, by Venegas de Henestrosa. (See H ANGLÉS, La Música en la Corte de Carlos V, p. I46 of music and I77 of text).” (Pujol1949, 71)