Early 16th-century Franco-Fleming composers moved away from the complex systems of canonic and other mensural play of Ockeghem's generation, tending toward points of imitation and duet or trio sections within an overall texture that grew to five and six voices.
O décimo sexto século Franco-Flamenga moveuse cedo lonxe dos sistemas complexos do xogo canónico e do outro mensural da xeración de Ockeghem, tendendo cara a puntos das seccións da imitación e do duet ou do trío dentro dunha textura total que veu cinco e seis voces.