I find interesting, and rather unusual, the (descending) augmented fourth (tritone) "Ti Fa" that occurs on "-na Do-", "-bus et", "-a mor-", and "-ia. Al-". Such leaps or descents of a tritone are almost never seen in Gregorian chant.

Actually, the inspiration for these two similar pieces (Ave Joseph was written first, before Ave Maria, as you might guess!) was the 6th Responsory on Good Friday. It has a beautifully haunting sound in the Fa-La-Do climb on the words: et fácta est míhi and heréditas méa, following the preceding descent. That climb you also see between the words Mea and Sicut. The "Devils Fourth" as I believe it is called happens here, but in reverse. I had always loved the beauty of this Responsory, which after Tenebræ Factæ Sunt, was always my favorite!

The do-ti is typical in Mode VII Responsories, for example, Responsory IV on Holy Saturday. And the Repetition is seen in the Offertory for Epiphany: Reges Thársis.

This repetition was to emphasize the words, María, grátia pléna, and Benedicta Tu in mulieribus, Her singular Privilege of The Immaculate Conception!

This is not exactly a typical Mode VII Hymn to Our Lady! Yet, I hope the importance of the text allows for Chant that incorporates some very typical Mode VII motifs, but in an original and somewhat unique way. A little more in the very Mystical style of St. Hildegarde. (We in no way mean to compare our mediocre Chant to the Saint's!)

Thanks for the criticism

Brother Monk