Intabulation of the secunda pars of Josquin’s six-voice motet “Pater noster”. The work is based on two cantus firmii in a three-bar canon in the two tenor voices. In Josquin’s original the canonic voice is indicated by the canon “Canon ad unisonum post tria tempora”. Valderrábano’s version indicates the canon and iuncludes it in the tablature, indicating it in the work’s rubric: “On the third [course] at the third fret is the c-clef, and the red ciphers is the voice [to sing], and at the sign of the [three] dots the companion voice enters which is also sung which is the canon.” Ward identified the model as reprinted in Werken, I , 5-11 (ward1953, 411). Gil was unable to locate a vocal model (gil2017, 380).