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According to the scholar John Morehen, Parsley was less at ease when working with English texts, a trait Morehen finds Parsley had in common with similar Reformation composers. His Latin music is fluent and attractive, with extended phrases that become increasingly melismatic as they progress. The parts in Latin are characteristically independent in a way that was typical of sacred polyphony in England before the Reformation. The expressive psalm Conserva me, domine has an elegant polyphonic style. The technique shown in his English church music is less assured than his compositions for the Latin rite. His five-part Lamentations, which differs from settings by his contemporaries Tallis and White in that a treble line (notable for the difficulty in singing the highest notes of the part) is maintained throughout, was probably intended for domestic devotional use. During the 1920s, the musicologist and composer W. H. Grattan Flood described Parsley's Lamentations as being "of particular interest". One piece, a well-crafted three-part canonic setting of the Salvator Mundi, was printed by Morley in 1597. Morley described Parsley's arrangement of this Gregorian hymn as a model of its kind, and alluded to him as "the most learned musician". Some of Parsley's instrumental music, nearly all for v