Original text: Missae tres pro defunctis quarum prima et secunda quaternis vocibus, tertia vero septenis concinuntur, item Improperia senis et Miserere quaternis vocibus; quae omnia, excepta prima et secunda missa, sine organo non modulantur, et simul cum gravi voce ad organum sunt.
There were hundreds of masses composed during the 17th Century as composers were eager to expand the range of musical expression. By contrast the 16th Centry Renaissance composers were slow to incorporate new musical styles. Some of the additions were an assimilation of concertato principles (Another name for concertino or concertante group in Baroque music which contained the solo instruments, or violins in contrast with the ripieno) and the use of basso continuo and equally rapidly incorporating instrumental forces. An example are the three settings of Brunelli's requiem.

Early in the 17th century the Renaissance polyphonic style, in various modified forms, served for several decades as a principal medium for requiem composition. A fine example, in Palestrinian style, is G.F. Anerio's setting (published in 1614, and reprinted three times up to 1677), the introit of which reveals an elegant use of chant paraphrase. Similar in approach, but with more archaic cantus firmus treatment, are the expressive settings of two of Victoria's successors, Duarte Lobo (Officium defunctorum, 1603) and J.P. Pujol (Requiem for four voices, before 1626). An important innovation, evident in a number of works, is the inclusion of an organ continuo part (with figured or unfigured bass), which allowed greater variations in texture and dynamics. Early examples include Aichinger's requiem (1615; D-As) and settings, from 1619, by Antonio Brunelli and Jean de Bournonville.