The works by Guillaume is a simple setting of chant for liturgical use. As substitutes for austere chant, the creation applies the faux bourdon technique as well as three voices with famous chant melody. Guillaume offers to the highest voices melody that originates from an embellishment of the chant. This melody is audible all through the song irrespective of the ephemeral tones with which he intervenes in the melody. The piece by Guillaume ends two phases with polished melismas in a succession of comprehensive tempos. The well-designed chant is going along with two lower voices in addition to present numerous versions. Guillaume wrote the piece with complicated tenor, which offers rhythmic drive and interest to the chant. The presence of the contra-tenor portion offers most spark to the piece, with quasi-imitation, voice crossings, and higher depiction of the syncopation.
Both Josquin’s and Guillaume’s works are largely used for liturgical services. Even though the artistic styles vary in the two compositions, they were simplified styles in the polyphonic compositions. Every sector of the composition is divisible by form or by a hypothetical period of creation. Unlike Guillaume, Josquin applies contrapuntal technique and text setting in his creation. The text setting gives clarity and conciseness, as well as innovation and technical mastery. There is a minimization of the melismatic phrases in Josquin’s creation and an increase of succinct and syllabic style built in canonic technique. Every voice in the creation shows free and smooth movement, with close concentration on the setting of the text and alignment of the text with musical motif. The composition, therefore, have motives, are easily identifiable fragments within the voices in contrapuntal texture. The effect is an internal harmony in the work of art, which is a necessary organizational standard in music.