One of the striking features of Dufay's music is its relative consistency of approach across diverse genres. Unlike many composers, such as his contemporary Gilles Binchois, who had different musical personalities depending on the genre they were working in, Dufay often remains clearly the same Dufay irrespective of whether the music is for a solemn ceremonial occasion or a bawdy New Year's Day celebration. In the rondeau Par droit je puis that tendency is seen at its extremest; it is, in its structure, along with another rondeau, essentially identical to a Marian motet of his called Inclita stella maris. Besides being four-voice works, the main feature is a self-complete canon between the two top voices, while other aspects, such as cadential and melodic styles, are virtually the same. Further, they all are set very low in the vocal registers, which is fairly rare in Dufay. It is as if the very same material were poured into differently shaped moulds. Par droit je puis also retains the dignified solemnity of the motet, and its feel of languid, lyrical sorrow.

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