Since a survey of Renaissance secular forms would be even more quixotic (given the bounds of the current study) than for the motet, a half-dozen pieces are singled out for focused discussion, allowing for a summary of the specific types and more general trends they represent: Ockeghem’s virelai ‘Ma bouche rit’ as a representative of the formes fixes; Senfl’s ‘Lust hab’ ich g’habt zuer Musica’ (strophic forms); Lassus’ ‘En un chasteau’ (epigram); Flecha’s ‘La bomba’ (the descriptive chanson); Tye’s ‘Sit fast’ and ’O lux’ (instrumental music); and Cipriano ‘Da le belle contrade’ (madrigal).