Perhaps second only to Monteverdi, Grandi was a prolific and important composer of motets and madrigals. The contribution that he made to sacred music can be found in his motets with the then new concertato mannerisms. He also helped to bring about the transition to a secular cantata and assisted in the continuing development of the aria. Grandi studied with Gabrieli and worked with Monteverdi becoming his second in 1620. Schutz visited Venice a second time during the course of his travels and probably met Grandi there. The influence of Grandi's motets is apparent in the later works of Bach's cantatas. This happened, more than likely, through the work of Schutz who conveyed Grandi's music to Germany. Though Grandi composed in a number of different venues he eventually turned to the solo motet with violin, as a primary medium. In 1628 Grandi wanted a new venue where the new music was not so well known so that he could experiment with the new forms and develope them even further. He obtained a position in Bergamo at S Maria Maggiore which lasted only two years as he subsequently contracted the plague and died in 1630. In 1620 the church was beginning to accept innovations in music. Grandi was probably the best melodic composer of his day and finally had an outlet for his exceptional gift. With the solo motet Grandi expanded the melodic solo line, employed the use of variations in the tune and cultivated a repeated bass pattern, and instrumental (violin) and vocal dialogues. ~ Keith Johnson