Josquin begins the second part of this motet strongly in the Ionian (C):

Josquin first gives a Phrygian cadence on the low E that brings to mind the low D with which he began:

Josquin's final Phrygian cadence recapitulates the extraordinary arc of the whole motet by moving from a Dorian harmony (D-F-A) four measures from the end via a penultimate Aeolian harmony (A-C-E) to the final, extended Phrygian chord (E-B):