The third period was very rich in masters of ability. Of Gombert little is known save that he was a pupil of Josquin. Adrian Willaert, the most brilliant light of his period, was born at Bruges in 1480, and was a pupil of either Josquin or Jean Mouton. After many changes he settled in Venice, where on Dec. 12, 1527, the doge, Andrea Gritti, appointed him chapel master of St. Mark's. He carried the teachings of the Netherlands school into Italy, became the head of a great music school, was the teacher of many noted organists, and had a profound and wide influence on musical art. Claude Goudimel was born in 1510, founded a music school in Rome, and was the teacher of the great Palestrina. He subsequently went to Paris, became a Protestant, and was killed in the massacre on St. Bartholomew's eve, Aug. 24, 1572. Cyprian di Rore was born in Brabant in 1516, and succeeded Willaert as chapel master of St. Mark's in Venice. He died in 1565. Clement Jannequin was a native of Flanders. Little is known of his life, but some of his compositions are extant. Willaert's work must first claim our attention. Finding two organs in St. Mark's he introduced antiphonal writing into the music of his time. He wrote some of his grand works for two choruses of four parts each, so that each chorus could answer the other across the church. He paid much less attention to rigid canonic style than his predecessors had done, because it was not suited to the kind of music which he felt was fitting for his church. He sought for grand, broad mass effects, which he learned could be obtained only by the employment of frequent passages in chords. So he began trying to write his counterpoint in such a way that the voice parts should often come together in successions of chords. In order to do this he was compelled to adopt the kind of chord formations still in use and the fundamental chord relations of modern music,--the tonic, dominant, and subdominant. The tonic is the chord of the key in which one is writing; the subdominant is that of the fourth note of the scale of that key; and the dominant that of the fifth, thus:-- [Music: Tonic. Subdominant. Dominant. Tonic.]