How did Palestrina create canonic masses from related voice parts?

In the context of counterpoint, Giovanni Pierluigi da Palestrina created canonic masses by deriving one or more voice parts directly from another voice part.1

This technique demonstrates his mastery of contrapuntal ingenuity, where he skillfully integrated these derived lines into the musical texture. In such compositions, the canonic voice parts are often woven together with other freely composed lines, allowing the derived material to become an integral part of the work's overall structure. While Palestrina frequently utilized a cantus firmus as a foundational melody in his masses, his canonic works specifically highlight his ability to generate complex, interdependent vocal textures through this systematic derivation of voices.1