One among the chief critical qualities of the early Baroque style was a move from a polyphonic surface to a homophonic surface. Prima practica was depicted as the past polyphonic perfect of the sixteenth century, with streaming strict contrast, arranged cacophony and correspondence of voices. Seconda practica utilized a great deal of more liberated contrast with an expanding order of voices accentuating soprano and bass. In Prima practica the concordance controls the words. In Second practica the words ought to be responsible for the music. Others called the two practices “stile antico” and “stile moderno” which means old and present day style. This was meant by the new style of monody, which was utilized with the end goal to express the significance and enthusiastic intensity of the words. Notwithstanding, this just was accomplished by forsaking the detailed polyphony and coming back to a type of surface reminiscent of Greek monody, which at last prompted the innovation of early Baroque monody.