which is for four voices, when the tenor—the lowest voice—drops out, the upper three voices proceed in fauxbourdon. 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. A related, but separate, development took place in England in the 15th century, called faburden. While superficially similar, especially in that it involved chains of 6–3 chords with octave-fifth consonances at the ends of phrases, faburden was a schematic method of harmonization of an existing chant; in the case of faburden, the chant was in the middle voice. See also Falsobordone: a type of singing related by name, but only slightly in style Forró: a Brazilian music genre whose name is derived (indirectly) from fauxbourdon References Citations Sources Further reading H. Grace, H. V. Hughes, H. R. Norton, G. Shaw, M. Shaw, and C. A. Becket Williams, The Tenor Tune Book (London, 1917) Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. External links https://web.archive.org/web/20050825215322/http://www.vanderbilt.edu/Blair/Courses/MUSL242/dufay98.htm http://www.dolmetsch.com/defsf.htm Musical techniques Renaissance music Medieval music theory