Psalm 113 begins (literally: 'Praise, children, the Lord'; in the KJV: 'Praise ye the Lord, O ye servants of the Lord'), and contains eight vocal parts and continuo. The second tenor begins alone with the cantus firmus. 5 Pulchra es The second motet begins (You are beautiful) from the Song of Songs. Monteverdi set it for two sopranos, who often sing in third parallels. 6 Laetatus sum The third psalm is Psalm 122, beginning (literally: 'I was glad'), a pilgrimage psalm. The music begins with a walking bass, which the first tenor enters with the cantus firmus. The movement is based on four patterns in the bass line and includes complex polyphonic settings and duets. 7 Duo Seraphim The third motet begins (Two angels were calling one to the other), a text combined from Isaiah 6:2–3 and the First Epistle of John, 5:7. Monteverdi set it for three tenors. The first part, talking about the two angels, is a duet. When the text turns to the epistle mentioning the Trinity, the third tenor joins. They sing the text "these three are one" in unison. The vocal lines are highly ornamented. 8 Nisi Dominus The fourth psalm, Psalm 127, opens with the words (Except the Lord [build the house]), and is for two tenors singing the cantus firmus and two four-part choirs, one echoing the other in overlapped singing. 9 Audi coelum The fourth motet opens with the words (Hear my words, Heaven), based on an anonymous liturgical poem. It is set for two tenors, who sing in call and response (), and expands to six voices at the word (all). 10 Lauda Jerusalem The fifth psalm, Psalm 147, begins (Praise, Jerusalem), and is set for two three-part choirs (SAB) and tenors singing the cantus firmus. 11 Sonata sopra Sancta Maria The sonata is an instrumental movement with soprano singing of a cantus firmus from the Litany of Loreto (Holy Mary, pray for us), with rhythmic variants. The movement opens with an instrumental section comparable to a pair of pavane and galliard, the same material first in even metre, then in triple metre. The vocal line appears eleven times, while the instruments play uninterrupted virtuoso music reminiscent of vocal parts in the motets. 12 Hymnus: Ave maris stella The penultimate section is devoted to the 8th century Marian hymn "". Its seven stanzas are set in different scoring. The melody is