In opposition to the chanson style of the Netherlandish composers writing at the same time, Le Jeune's "Parisian" chansons in "musique mesurée" were usually light and homophonic in texture. They were sung "a cappella", and were usually from three to seven voices, though sometimes he wrote for as many as eight. Probably his most famous secular work is his collection of thirty-three "airs mesurés" and six chansons, all to poems by Baïf, entitled "Le printemps". Occasionally he wrote in a contrapuntal idiom reminiscent of the more severe style of his Netherlandish contemporaries, sometimes with a satirical intent; and in addition he sometimes used melodic intervals which were "forbidden" by current rules, such as the expressive diminished fourth; these strictures were codified by contemporary theorists such as Gioseffe Zarlino in Venice, and were well known to Le Jeune.