Another eminent pupil of Josquin des Près was Nicolas Gombert, of Bruges. Like Jannequin, he was a Nature lover, and many of his madrigals imitate its sounds. Secular music was now popular, and his works show that a composer was allowed to give expression to his feelings and ideas, for the prejudices of the earlier church music had disappeared. Jean Mouton, a native of Metz, was in the chapel of Louis XII and of François I, King of France. His style was like his master’s and some of his works were supposed to have been composed by Josquin. WILLAERT FOUNDS THE VENETIAN SCHOOL Willaert was a pupil of both Josquin and Mouton. He was chapel master at St. Mark’s in Venice, and was so famous as a teacher that he attracted many good musicians, and became the founder of the famous Venetian school of composers. He wrote many madrigals, some of them on verses of Petrarch, the Italian poet. This work was accomplished after he was sixty years old! Willaert was the first organist to use two and sometimes three choirs, each singing in four parts. Sometimes they sang in combination and sometimes answered each other antiphonally. According to Clarence G. Hamilton in his book _Outlines of Music History_, the idea of these choirs was probably suggested to Willaert because there were in St. Mark’s two very fine organs. In this you see the influence instruments have on the growth of musical compositions. Willaert made use too, of the idea that the different parts could be sounded together to form chords, instead of individual melodies as was the case in poly-melody (polyphony or in the contrapuntal style). This was a new idea, for up to this time the musicians had been writing horizontal music, the melodic line looking something like this: [Illustration: S A T B] Willaert’s idea, which probably came from folk-song and from some of the hymns that Luther created, was colonnade-like (see Chapter VII) or perpendicular music, which we might illustrate like this: [Illustration: ||||||| or] ST. NICHOLAS TUNE BY ORLANDUS LASSUS [Illustration] in which each line represents a chord, with the melody at the top. This is how Harmony, or the science of chords, came into use as we know it now. Among Willaert’s pupils were Cyprian de Rore of Antwerp, who succeeded his master at St. Mark’s, and most of his works were madrigals which gained him much fame in Italy. He was one of the first to use the chromatic scale (scale in semi-tones like black and white keys on the piano). An Italian, Zarlino, pupil of Willaert, must be mentioned here, not as a writer of music but as the author of three most important books on harmony and theory. These books seem to have been very much needed for they were reprinted many times. Another Italian pupil of Willaert was Andrea Gabrieli, like his master, also an organist at St. Mark’s.