 His wide-ranging, eclectic style blended archaism and modernity.He rarely used the "cantus firmus" technique, preferring the then-new Venetian polychoral manner, yet he was equally conversant with earlier imitative techniques.Some of his chromatic transitions foreshadowed the breakup of modality; his five-voice motet "Mirabile mysterium" contains chromaticism worthy of Carlo Gesualdo.