Nicolas Gombert's "Deploration on the death of Josquin Desprez" is a motet-chanson set in the Phrygian mode. You may sometimes see it referred to as an Ars combinatoria composition which means quite simply that a secular text is combined with a Latin cantus firmus sung by one of the tenor voices in long drawn out notes. In this case the cantus firmus is supplied by the Good Friday response "Circumdederunt me gemitus mortis, dolores inferni circumdederent me" (Laments of death have surrounded me, pains of hell have surrounded me) Gombert takes this theme and weaves some very elaborate counterpoint around it as the singers lament Josquin's passing and the injustice of death. This use of the cantus firmus which Gombert transposes down beginning on E rather than F is a very explicit homage to Josquin who used exactly this technique in his own homage to a deceased composer Nymphes des bois the homage is all the more marked because Gombert very rarely employed the cantus firmus technique. The intent is very clear rendering homage to a master mourned by all but the style is definitely Gombert's own the counterpoint woven around the cantus firmus is far less formal than something Josquin might have written and ebbs and flows far more – thereby maintaining both musical interest and a somewhat meditative tone. It concludes with some triple time writing marking Josquin's transposition to the heavens. Enjoy :-).