Although best-documented musicians from the European Renaissance sang and composed music for the fantastic Catholic chapels and cathedrals, it had been also eminently easy for a musician to produce a living as an instrumentalist — or even to do both. It appears that north Italian musician Giorgio Mainerio may did both. Mainerio may have already been a priest from the Catholic cathedral and to possess pursued an effective career being a cathedral musician. He was a capellano, or chaplain by 1560, and obtained profitable benefice income in the Cathedral of Udine (near Venice) in 1565. Currently in 1560, the Cathedral specialists could compliment his understanding of the “artwork and research of performing.” In 1570, Mainerio took a relatively higher-paying job being a beneficed priest for the Cathedral of Aquileia; he trained singing towards the guys generally there, and in 1576 he was marketed to business lead the chapel choir. He passed away in that city in springtime 1582, having satisfied a completely reputable trajectory in his cathedral music career. At exactly the same time, Mainerio also composed music for secular reasons. If he played the several wind musical instruments with which Italian courts had taken their amusement for dance, he composed music on their behalf, and released a series that continues to be central to historians’ knowledge of Italian dance music. His 1578 Primo libro di balli includes much basic and immediate music for courtly entertainment, but also contains the initial known types of an instrumental collection, as well as the initial known group of written-out instrumental variants. His instrumental music displays both the impact of regional improvisatory traditions as well as the counterpoint he discovered for the cathedral.