imitated by the altus and then by the superius, while the bassus enters at the lower fifth, providing a
harmonization that reemphasizes the F reached by the superius in the first phrase. The closing phrase
reiterates the opening, but only in the superius. The other voices sing nonimitative counterpoints, the tenor
making a brief recollection of “gratia plena” just before the final cadence.
EX. 14-8 Antoine de Févin, Missa super Ave Maria, Kyrie, first section