With his contemporaries, Willaert developed the canzone (a form of polyphonic secular song) and ricercare, which were forerunners of modern instrumental forms. Willaert also arranged 22 four-part madrigals for voice and lute written by Verdelot. In an early 4-part vocal work, Quid non ebrietas? (In some sources called the Chromatic Duo) Willaert uses musica ficta around the circle of 5ths in one of the voices resulting in an augmented 7th in unison with the ending octave, an outstanding experiment with chromatic enharmonicism. Willaert was among the first to extensively use chromaticism in the madrigal. Looking forward, we are given an image of early word painting in his madrigal Mentre che'l cor. Willaert, who was fond of the older compositional techniques such as the canon, often placed the melody in the tenor of his compositions, treating it as a cantus firmus. Willaert, with the help of De Rore, standardized a five-voice setting in madrigal composition. Willaert also pioneered a style that continued until the end of the madrigal period of reflecting the emotional qualities of the text and the meanings of important words as sharply and clearly as possible.