Not only does the five-note figure appear throughout, but it appears in compositional permutations such as retrograde (Mi-Re-Fa-Sol-La), occasionally making palindromic figures as a result of retrogrades appearing immediately before or after statements of the figure in its original form. In addition, Josquin uses the figure in each of the three hexachords available to Renaissance music theory: the natural hexachord beginning on C (giving A-G-F-D-E for the figure), the "hard" hexachord beginning on G (giving E-D-C-A-B natural for the figure), and the "soft" hexachord beginning on F (giving D-C-B flat-G-A for the figure). Sometimes he swaps hexachords in mid-figure, a compositional trick visible on the page but difficult to hear. The motivic saturation characteristic to the piece, including use of permutations such as retrograde, is more commonly associated with music of the Second Viennese School than the Renaissance, but Josquin was not only an innovator: he was working with a motivic cell which was singularly well-suited to such treatment.