In style, much of his motet writing is homophonic, incorporating some of the lightness of the contemporary Italian secular music. Most of his masses are based on chanson melodies, which are stated clearly in the tenor voice, and the other voices usually move in a simple, occasionally parallel manner, related to the manner of Dufay or the other Burgundians. Once in a while Weerbeke uses imitation but never in the paired manner of Josquin or the pervasive manner of the later Franco-Flemish composers; his style of composition of masses is almost archaic in comparison to his contemporaries.