first of the great 17th-century school of French harpsichord players and composers (clavecinistes).

Chambonnières came from an old and distinguished family of musicians and succeeded his father as a musician to Louis XIII, a position he retained under Louis XIV. He also was employed at the courts of Sweden and Brandenburg and thus became one of the most widely known harpsichord players of his time.

His Pièces de clavecin (published 1670) reflect in style and texture the compositions of the noted lutenist-composer Denis Gaultier and thus emphasize the roots of the early harpsichord style in lute music. The Pièces are highly ornamented and rich in harmony and are grouped by key into suites of dances (usually an allemande, one or more courantes, a sarabande, and sometimes a gigue) and miniature pieces with fanciful titles. There is no thematic relationship between the movements of a single suite, the aim being rather for contrast within a given key. This flexible scheme was a model for later composers, including those of south Germany. Chambonnières was one of the first to attach tables of ornaments to his works, indicating the manner of performance of the many embellishments so vital to his free-voiced style.

Chambonnières was a noted teacher and included among his students many of the outstanding clavecinistes of the next generation, notably Louis Couperin, Nicolas Lebègue, and Jean-Henri d'Anglebert.