Binchois' chansons are overwhelmingly for three voices, usually with a discantus set about a fifth above the tenor and contratenor. While the tenor and discantus move in perfect counterpoint, the function of the contratenor is to enliven the rhythm and generally embellish the textures, bringing a greater intensity of color to the music. One of his principal means of coloration is the passing dissonance; his music is full of such subtle harmonic nuance. They are largely responsible for the subtle sense of disquiet under the poised surface of his music, and are largely the bearers of its beautiful, mysterious sense of melancholy.

A rainy-day melancholy contradicts the celebratory text of this chanson. It is poignantly ironic that the words go on about how great love is while the music seems struggling under the weight of despair or duty. The main part of the discantus goes through a gradual descent, then patiently arcs back up. This melodic contour creates a seesaw or cradling effect; the tearful lullaby, a specialty of Binchois. The cadential melismas always happen in the higher range and the contratenor, as usual, provides sweet, rich shades of color; slow blooms of notes around the main upheld pitch whenever the discantus slows into a savory long note.

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