In 1530 he was charged with playing ball at Notre Dame Cathedral as well as refusing to go to a service, both dangerous irreverences that almost cost him prison time—but he was young enough to be forgiven.
In 1536 he became a master of choristers at the Sainte-Chapelle (choir), and he remained at this post, with a few additional benefices, for the rest of his life.
Another post he held late in his life – concurrently with his activity in Paris – was as canon at the cathedral in Melun.
In addition he was skilled at varying texture between homophonic and polyphonic passages, and often changing the number and register of voices singing at any time.
Cross-influence with the contemporary Italian form of the madrigal was obvious, but chansons such as those by Certon retained a lightness and a rhythmic element characteristic of the French language itself.