A fluent exponent of the style of pervading imitation, Clemens often extended his motets based on short Biblical texts to great lengths by repeating his principal thematic material over and over again, or by writing long ostinati or chains of melodic sequences. He composed in a wide range of styles. On the one extreme, Clemens presented folk or popular tunes in the middle of his three voices, adapting them to Dutch translations of the Psalter intended to be sung in the home or at social gatherings. On the other extreme, he departed radically from his usual diatonic harmonic style in a handful of extremely chromatic motets that seem to reveal his hidden sympathies with the religious reformers of his time.