L'homme armé
Although Regis was associated professionally with Guillaume Du Fay, his music is stylistically independent of Du Fay and is highly creative and technically innovative. Like his exact contemporary, Johannes Ockeghem, Regis liked to explore the low vocal register resulting in a very broad registral palette, and his music also evidences great harmonic and textural variety. Two masses, seven motets, and two secular songs, both rondeaux, by Regis have survived; some other music is mentioned by Tinctoris and other writers but is lost. One of his lost works is a "Missa L'homme armé"; dating from the 1450s; it is one of the earliest known masses based on this most popular of all tunes for mass composition. In addition to this lost mass, he wrote another based on the same tune, a "Dum sacrum mysterium/Missa l'homme armé"; this one has survived, and is a contrapuntal tour-de-force which uses up to three pre-existing melodies simultaneously in the four voices. Regis is one of the few composers known to have written more than one "L'homme armé" mass. Also among Regis' music for the mass is a single movement, "Patrem Vilayge".