Organum melismatico

https://www.britannica.com/art/fauxbourdon

Fauxbourdon, (French), English false bass, also called faburden,

musical texture prevalent during the late Middle Ages and early
Renaissance, produced by three voices proceeding primarily in
parallel motion in intervals corresponding to the first inversion of the
triad. Only two of the three parts were notated, a
plainchant melody together with the lowest voice a sixth below (as e
below c′); occasional octaves (as c–c′) occurred as well. The middle
part was realized by the singer at the interval of a fourth below the
plainchant melody (as g below c′). The result was a particularly
“sweet” sound in contrast to the mixture of passing dissonants and
open sonorities favoured in earlier music.
Guillaume Dufay (c. 1400–74) is said to have been the first to
introduce fauxbourdon into written music. Other early 15th-century
Burgundian and Netherlandish composers, too, embraced this
essentially homophonic technique, especially for psalm
and hymn settings requiring distinct textual articulation and clear
enunciation. In more elaborate compositions the fauxbourdon texture
appeared at times greatly varied and ornamented, as in several
settings of the Magnificat by Gilles Binchois (died 1460).
Fauxbourdon was, therefore, an important element in the transition
from the medieval emphasis on perfect consonants to the euphony
that characterized the a cappella polyphony of the Humanist era.
At least one school of musical scholarship holds that fauxbourdon
represents a continental adaptationof an English method
of extemporaneous singing in which upper and lower voices were
added to a chant melody to form 6/3 chords. If so, it would seem that
by the mid-15th century the designationfauxbourdon, anglicized to
faburden, was being applied to the original practice. At any rate,
English composers did favour successions of 6/3 chords in any
number of written compositions with the crucial melody in the middle
or at the top and the rest often richly enhanced. This style
of composition, too, is often called English descant, faburden, or
fauxbourdon. In addition, English composers employed fauxbourdon
in its continental form as well. It is now generally believed that
English descant originally involved singing in two parts with an upper
voice extemporaneously added to a plainchant, frequently in contrary
motion, as opposed to the parallel motion typical of fauxbourdon.
In 16th-century Italy and Spain, simple chord settings of psalms,
usually in four parts, were frequently labelled falsobordone. But
unlike the earlier fauxbourdon, falsobordone was based on chords in
root position. Even though inversions do not necessarily alter the
harmonic implications of chords, root positions do convey a greater
sense of harmonic stability, since the fundamental tone, the chord
root, appears in the bass, acoustically its natural habitat.
Finally, in the 16th century, English keyboard music, too, was
sometimes based on a cantus firmus, or underlying melody, called
“faburden of the chant,” consisting not of the original plainchant but of
its transposition to a lower pitch, as in the second voice of a
fauxbourdon. “O Lux on the faburden” by John Redford (died 1547) is
a well-known example based on such a derivative melody.
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