These characteristics of treatment found great favor with Flemish organists, by whom they were introduced. Peter Philipps, an organist of Soignies, makes use of them in a "Gagliarda," and in the "Pavana dolorosa"; composed in prison, according to an addition in a strange hand in the manuscript. S. Scheidt, a pupil of Sweelinck, avails himself of them in various instances (Fantaisie super "Io son ferito casso", "Fuga quadruplici," etc.).
This mannerism prevailed for some years; we again find it in the works of Froberger (Toccata fatto a Bruxellis Anno 1650) and in a fugue in E flat by Christopher Bach, of which the following is the subject:
Finally, to illustrate the employment of this sort of theme, we will quote the beginning of a "Point d'orgue sur les Grands Jeux," by Grigny.[90]
In secular music composers exhibited the same fondness for this chromatic style of progression, employed to express sorrow or dread (it is interesting to note that at every musical epoch this or that motive or chord, later certain instruments, express certain definite emotions).
Thus, in the following example from G. Andrea Bontempi, taken from the opera "Paride" produced at Dresden in 1662: