This rather long composition is neatly divided into complete musical sections that are still all well-fitted parts of the whole work. This focuses attention upon the text and its meaning, which was doubtless Victoria's intent. While his motets are more overtly emotional than his masses, the music is still firmly subordinate to the text and its purposes.

The first section opens with a solo "Salve" (Hail), in the plainsong style. The other voices enter and weave various harmonics about the leading phrase. This pattern is repeated in each of the following sections, but the solo opening phrase is far shorter each time.

The musical climax is at the "eia ergo, advocata nostra" (therefore, you, our advocate) where all of the voices are at their most powerful, and the harmonics are very straightforward, giving a sense of urgency. Particularly effective is the ending line of this section, "misericordes oculos ad nos converte, " (therefore turn your merciful eyes towards us) where the "ad nos converte" (towards us) is repeated several times, with the same accents, giving the impression of a plea being repeated from all sides.

The work then continues with much the same atmosphere as the opening, meditative praise to Mary, and moves on to a hushed, reverent ending.

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