In the past, cyclic Masses were held together by a cantus firmus common to each movement of the Mass. Other solutions included canonic devices, or the use of divided phrasing to articulate the text more clearly, allowing the text serve as the structural element. Clemens, however, chose to utilize the Parody Mass technique for all of his Masses. In some cases the old material is very recognizable, in others it is more disguised. But, it serves as a useful skeleton onto which a more coherent and fluid form can be built. Although not completely identical, the voicing gives a similar texture.
Entrances differ slightly, however.
In contrast, the opening voice of the Mass sings alone for a measure and a half, after which the other voices enter in rapid succession, with the exception of the bass line again, which enters after five full measures of rest. The material after the entrance develops somewhat differently than that of the motet, although the overall texture and pervading harmonic language remains similar. Example 1 . Example 2 . The next motet-derived motivic unit used in the Mass is an ascending third followed by descending scale of four notes.