Fauxbourdon style from the mid-fifteenth century is most similar to which configuration of chords?

Fauxbourdon style, which flourished in the mid-fifteenth century, is characterized by its use of parallel sixths and fourths that create a rich harmonic texture. In this style, two voices usually sing in parallel while a third voice, often an embellished cantus firmus, moves freely above or below these voices.

The correct answer, first inversion, reflects how the chords in Fauxbourdon are typically structured. In first inversion chords, the third of the chord is in the bass, which allows for smoother voice leading and maintains a close harmony characteristic of the Fauxbourdon style. This configuration facilitates the blending of the voices, creating the desired sonority that is prevalent in this musical practice.

The other configurations do not fit as well. Root position chords place the root in the bass, which could lead to a more dissonant and less fluid texture when used in the same way. Second inversion, with the fifth in the bass, can create a more open sound but lacks the close harmony that is a hallmark of Fauxbourdon. Seventh chords add additional drama and dissonance that are not typical for the smoother, more consonant sound sought in Fauxbourdon. Thus, first inversion is the most appropriate choice that aligns