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 exact relationship with the model, from the second half of the Gloria of Josquin’s Mass needs to be established. The distribution of the work is as follows:
Glossa 1-15
Josquin 16-33
Glossa 34-54
Josquin 55-78
Glossa 79-87
Josquin 88-124

Pujol writes: “As in the glosses of the previous motets, the vihuelist's fantasy is linked here with fragments of the original composition from which it is inspired. Pisador includes in his Libro de música para vihuela (fol. 70), this Cum Sancto Spiritu in tablature. A Tiento by Palero on the same mass section appears in Venegas de Henestrosa's Libro de cifra nueva, LIV, tiento XXVII.” (Pujol1949, 73)