Como es el caso en este misa a cuatro voces de Josquin, era habitual entre los polifonistas del s. XVI componer la música del verso del Sanctus “Benedectus qui venit in nomine Domini” para un número reducido de voces. Estos segmentos ofrecían a los vihuelistas material ideal para estudiar el contrapunto de maestros compositores en su manifestación más sencilla. En esta ocasión, la música de Josquin es evocativa pero sumamente sencilla, alternando un mismo tema entre ambas partes.

As is the case here, it was customary for sixteenth-century polyphonists to set the verse “Benedectus qui venit in nomine Domini” of the Sanctus movement for a reduced number of voices, two or three, instead of the four or five used predominantly throughout such settings. Passages of this type provide ideal study material for vihuelists to learn how master polyphonists composed simple two-part counterpoint. Alternating a single theme between the voices, this fragment of Josquin’s music is highly evocative despite its economy and extreme simplicity.