Tomas Luis De Victoria uses imitative polyphony based on a melody in the first nine measures.  It begins in the Cantus voice, leaping a 5^th down and then returning to the starting pitch.  It mostly moves in stepwise motion with three more leaps, two of a 4^th and one of a 3^rd.  Whenever the text says ‘magnum,’ the voice either leaps up or down by a 5^th.  Then on the word mysterium, Victoria moves either up or down by a semitone.  Victoria uses text painting on the large leap of the 5^th represents magnum (large or big) and on the resolution of a semitone depicts a sense of mystery.  The melody continues in the Altus and is imitated a fifth below the original line six beats later.   Victoria creates a nice thick texture through the piece by shifting the original melody between voices.  He takes out voices creating points where the texture becomes thinner, but then adds voices back into the piece returning it to a thicker texture.  In measure 38, there is silence for beats three and four in all four voices.  Then in measure 39, all 4 voices exclaim in homo-rhythm (which makes the statement louder and stronger), “O Beata Virgo!” which means, “Oh blessed virgin!” On the text, “virgin,” the outer voices have syncopation and eighth note runs, ornamenting the word virgin making it sound more elegant and beautiful.  Victoria uses homo-rhythm in the last section of the piece when the text repeats “Alleluia” until the conclusion of the piece. This section Starts in a triple meter, but is imitated in later measures in duple meter.  The piece ends with a Picardy third resolving from a minor key to a major key.