The rise of instrumental monody did not have its roots exclusively in vocal music. In part, it was based on the extant sixteenth-century practice of performing polyphonic madrigals with one voice singing the treble line, while the others were played by instruments or by a single keyboard instrument. Thus, while all voices were still theoretically equal in these polyphonic compositions, in practice the listener would have heard one voice as being a melody and the others as accompaniment. Furthermore, the new musical genres that appeared in the late sixteenth and early seventeenth centuries, especially the instrumental sonata, revealed a transition in ways of thinking about composition and performance, from a collaboration of equals to a soloist backed up by a relatively unimportant accompaniment. In addition, even in the mid sixteenth century, most works for voice and lute were conceived specifically as such. In the realm of English ayres, for instance, this meant that composers such as John Dowland and Adrian Le Roy were already thinking of a dichotomous melody and bass, filled in not with counterpoint but with chords "planned for harmonic effect."