Marian antiphon Salve regina. Most likely these are early works. Chansons His thirty chansons show a diversity of style, some being akin to the late Burgundian style (for example, as seen in Hayne van Ghizeghem or Gilles Binchois), and others using a more current imitative polyphonic style. Since La Rue never spent time in Italy, he never picked up the Italian frottola style which featured light, homophonic textures (which Josquin used so effectively in his popular El Grillo and Scaramella), and which so charmed the other members of his generation. Works Masses (5vv); (4vv); (4vv); (4vv); (6vv); (5vv); (or iocunditate) (4 and 5vv); (4vv); (5vv); (4vv); (5vv); (4vv); (4vv); (5vv); (4vv); (5vv), also known as , La Rue's longest mass cycle; (4vv); (5vv); (4vv); {{lang|la|Missa L'homme armé I|italic=unset}} (4vv); ; (4vv); (4vv); (5vv); (4-5vv); (4vv); (4vv); (4vv); (4vv); (4vv); (4vv). Masses with uncertain attribution ; (4vv); (4vv). Mass fragments Kyrie in festo Paschale; Kyrie Paschale; Credo Angeli Archangeli; Credo de villagiis; Credo l'amour de moy; Credo; Credo.Motets Ave Regina cœlorum; Ave sanctissima Maria; Considera Israel; Da pacem, Domine; Delicta juventutis; Gaude virgo mater; Lauda anima mea Dominum; Laudate Dominum omnes gentes; O Domine Jesu Christi; O salutaris hostia; Pater de caelis Deus; Quis dabit pacem; Regina coeli; Salve mater salvatoris; Salve regina I; Salve regina II; Salve regina III; Salve regina IV; Salve regina V; Salve regina VI; Santa Maria virgo; Si dormiero; Te decet laus; Vexilla Regis-Passio Domini. Motets with uncertain attribution Absalom, fili mi (originally attributed to Josquin; gradual scholarly consensus emerging that this may be by La Rue); Domini est terra; Lamentationes Hieremiae (von Mahu); Virga tua. Magnificats 8 Magnificats, of which 7 survive, for four (tones II, IV, V, VII, and VIII), five (tone VI) or six (tone I) voices Chansons À vous non-autre; Au feu d’amour; Autant en emporte; Carmen in re; Ce n’est pas jeu; Cent mille regretz; De l’œil de le fille; Dedans bouton; Dicte moy bergere; D’ung altre aymer; D’ung desplaisier; En espoir vis; En l’amour d’un dame; Forseulement; Forseulement; Iam sauche; Il fault morir; Il viendra le jour; Incessament mon povre cueur; Las que plains tu; Ma bouche rit; Myn hert altyt heeft verlanghen; Plorés, genicés, criés -Requiem; Pour ceque je suis; Pour ung jamais; Pourquoy non; Pourquoy tant me fault; Si le changer; Tant que nostre argent; Tous les regretz; Tous nobles cueurs; Trop plus secret. Chansons with uncertain attribution