Fauxbourdon

In a hymn, the term is sometimes used when the congregation sings in parallel octaves, with some singers singing a descant over the melody, but the term was historically used to indicate an arrangement of the tune in four parts with the melody in the tenor voice, such as those composed by sixteenth- and seventeenth-century English composers including John Dowland, Giles Farnaby, and Thomas Ravenscroft.

Since many early 15th century compositions are anonymous, and dating is often problematic, exact determination of the authorship of the earliest fauxbourdon is difficult.

It is possible that his use of the word "bourdon" was intended as a pun on St. James' "staff" (which Du Fay, or the copyist, drew in miniature above the music).

Even though its first use appears to have been in Italy, fauxbourdon was to become a defining characteristic of the Burgundian style which flourished in the Low Countries through the middle of the 15th century.

Composers such as Gilles Binchois, Antoine Busnois, and Johannes Brassart all frequently used the technique, always adapting it to their personal styles.