Leonard de Hodemont's (c1575-1636) Sacri Concentus consist in 58 compositions for voices, instruments and continuo. They belong to a landmark in the evolution of musical language. The paper tries to position them in the evolution towards the tonal language. To this effect, it examines the degrees utilized as roots and the proportion of dominant vs subdominant vectors. This analysis allows an evaluation of the language of these works without recourse to a vocabulary belonging to tonal analysis.