These amateurs became convinced that there was no longer any satisfaction to be drawn from the old way of singing the soprano part of madrigals and turning the other parts into an instrumental accompaniment.
Caccini went back to Florence and continued to set canzonettas.

He says that in these compositions he tried continually to give the meaning of the words and so to touch responsive chords of feeling.

He endeavored to compose in a pleasing style by hiding all contrapuntal effects as much as possible.

He set long syllables to consonances and let passing notes go with short syllables.

He applied similar considerations to the introduction of passages "although sometimes as a certain ornamentation I have used a few broken notes to the value of a quarter, or at most a half note, on a short syllable, something one can endure, because they quickly slip by and are not really passages, but only add to the pleasant effect." Caccini continues his preface with reiterated objections to vocal passages used merely for display, and says that he has striven to show how they can be turned to artistic uses.