The works by " Browne " in the " Fayrfax Book " display a similar difference in style to those by the 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 " ).
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