Cyprian de Rore was born at Mecheln. He was Willaert's successor at St. Mark's in 1563, and died at Parma two years later. His originality was manifested in his madrigals, which became so popular that the Italians called him "Il divino." De Rore did not hesitate to use chromatic intervals, and boldly entered upon the new path which his teacher had merely pointed out. Considerable opposition was made to this innovation at first; but soon other bold masters, such as Orlando Lasso and Luca Marenzio, adopted chromatic intervals in their writings. These masters deserve the honor of having prepared the way for the modern system of major and minor keys and the chromatic scale. They did more toward the attainment of a newer and higher type of music than all the speculations of learned theorists and scholars had been able to accomplish.
De Rore's successor at St. Mark's was Giuseppe Zarlino, the greatest musical theorist of the sixteenth century. Zarlino's specialty was the theory of music rather than composition; hence, it is rather difficult to form any idea of his talent as a composer, from the few compositions that are at hand. His great work on the principles of music entitled "Istituzioni harmoniche" holds a very high place in musical literature. Before his day, musicians avoided the third in the last chord of the final cadence of a composition; all pieces ending either with the simple octave, or the octave with the fifth. Orlando Lasso was the first to adopt this innovation in practical music, but he did not extend it to the minor third, which was not used at the close of a piece until far into the eighteenth century.
Zarlino justified the use of major and minor thirds and sixths as concords, by his so-called diatonic system of "tempered intervals," which was an improvement on the pure-fifth system of Pythagoras. This new system recognized large and small whole tones in the series of intervals comprising the diatonic scale.
The foundation of modern organ-playing was laid at Venice. The most celebrated organ-players of the sixteenth century were offshoots of the Venetian school. With regard to organ music of the Venetian masters, it consisted of short pieces, the form resembling that of the modern prelude. Free running passages and broken chords, with now and then some hints of stricter counterpoint, were the characteristics of this music. The titles indicated greater variety than the contents. Some of them were named: Ricercari, Symphonia, Praeambula, Toccata, Capriccio, Intermezzo, Canzone, and so on.