In this place, I think it had better been notated as a G[sharp], a dissonance (tertia deficiens), quickly released to A.' Although this raises fascinating questions about the attitude to subsemitones
of organists playing from tablature, the fact is that, in terms of harmonic grammar and of the likely articulation of the motifs, this is an A[flat].
The precise notation of accidentals in lute tablature shows that, while Le Roy is not altogether consistent, he uses more melodic subsemitones
at cadences and half cadences than did Goudimel, whose mensurally notated partbooks are in any case less explicit, depending on the singers' preferences in applying accidentals in a more or less traditional manner according to the rules of musica ficta.