Other sources refer to lost works: three Masses, another Stabat mater, another Magnificat, Altissimi potentia, and Ad te purissima virgo.
There is also an extended and somewhat erudite three-part instrumental work based on steps of the hexachord and its mutations, Fa la sol, and another untitled piece.
While they do not pursue the simplifying approach of Fayrfax (an almost exact contemporary of Cornysh junior, and fellow at Court and Chapel), and remain in a more old-fashioned florid melodic style, they adopt proto-madrigalian manners (for example in the setting of words like "clamorosa", "crucifige" and "debellandum" in the Stabat mater) and have a particularly developed sense of tonal movement (for example, in the Stabat mater, the closing "Amen" features deliberate use of F sharps as leading notes to give a sense of tonal cadence into G, or employing E flats at "Sathanam" to give a tonal cadence onto B flat, emphasizing the "strong" nature of the text at that moment, employing the bass-movement V-I), as well as adopting a more modern sense of the expressive appoggiatura in melodic shapes and in bringing out the stresses of the Latin by such devices (for example, again the Stabat mater, the use of appoggiaturas in the Bassus part to express "ContriSTANtem et doLENtem" in the first few measures, and again at "Contemplari doLENtem cum filio?
"), and the use of purely rhetorical gestures (such as the exclamation "O" by full choir in the middle of the soloists' section starting the Stabat mater).
The musicologist David Skinner, in the booklet to The Cardinall's Musick's CD Latin Church Music,[3] puts forward the proposition that the pre-Reformation Latin church music (including the works in the Eton manuscript) was composed by the father, whilst the son is the composer of the pieces in English and the courtly songs.