One of Mudarra’s glosas of his second book, based on the opening Kyrie of the Missa Ave Maria by Antoine Fevin, based on Josquin’s motet. In his usual style, Mudarra alternates sections of intabulation with original music, indicated in the tablature as follows:
1-30 Glosa
31- 87 Fevin
88-102 Glosa
103-115 Fevin
116-127 Glosa
127-141 Fevin

Roa shows further divisions (nos 3 and 4 in his scheme:
Sect. Comp. Cad Length
1 1-29 V 29 glosa
2 30-56 I 27 Fevin
3 57-73 I 17 glosa
4 74-87 iii 14 Fevin
5 88-102 iii 15 glosa
6 103-114 I 12 Fevin
7 115-127 I 13 glosa
8 128-141 I 14 Fevin

The original polyphony was first published in Misse Antonii de Fevin. Sancta trinitas. Mente tota. Ave Marie. Le vilayn jaloys. Roberti de Fevin. Frossombrone: Ottaviano Petrucci, 1515. (RISM 1515/1)
Roa suggests that Mudarra’s choice of this work, a movement based on Josquin may be a homage to his patron Don Diego Hurtado de Mendoza, given that “Ave Maria Gratia Plena” is the motto on his heraldic shield (roa2022, 21)