Paraphrase mass

John Dunstable's Gloria is an example of this procedure, as are the two settings by Guillaume Dufay of the Marian Antiphon Alma redemptoris mater.

Many compositions in fauxbourdon, a characteristic technique of the Burgundian School, use a paraphrased version of a plainchant tune in the highest voice.

His Missa Ave regina celorum (written between 1463 and 1474) is similar to a cantus firmus mass in that the tune is in the tenor; however, it is paraphrased by elaboration (and he also includes bits of his own motet on that antiphon, foreshadowing the parody technique).

In the Missa pange lingua, all voices carry variants of the hymn, with the beginnings of successive phrases marking points of imitation in the mass.

Composers of masses in those regions developed styles independently, and in both areas tended to use variations of the cantus firmus technique.

Manuscript showing the opening Kyrie of the Missa de Beata Virgine , a late work by Josquin des Prez , and a paraphrase mass. Each of the voices sings a version of the source plainchant, elaborated or "paraphrased".