See also:

• SONATA (From Ital. sonare, to sound)

SONATA (From Ital. sonare, to See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound)  , in See also:

• MUSIC

music, originally merely a piece " played " as opposed to " See also:

• CANTATA (Italian for a song or story set to music)

cantata," a piece sung, though the See also:

• TERM

term is said to have been applied once or twice to a vocal See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . By the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• CORELLI, ARCANGELO (1653-1713)
• CORELLI, MARIE (1864- )

Corelli two polyphonic types of See also:

• SONATA (From Ital. sonare, to sound)

sonata were established, the sonata da chiesa and the sonata da See also:

• CAMERA (a Latin adaptation of Gr. Kagapa, an arched chamber)

camera . The sonata da chiesa, generally for one or more violins and See also:

• BASS
• BASS (the same word as " base," and so pronounced, but influenced in spelling by the Ital. basso)

bass, consisted normally of a slow introduction, a loosely fugued See also:

• ALLEGRO (an Italian word, meaning " cheerful," as in Milton's poem)

allegro, a cantabile slow See also:

• MOVEMENT

movement' and a lively See also:

• FINALE (Ital. for " end ")

finale in some such " binary " See also:

• FORM (Lat. forma)

form (see SONATA FORMS) as suggests See also:

• AFFINITY (Lat. affinitas, relationship by marriage, from offinis, bordering on, related to; finis, border, boundary)
• AFFINITY, CHEMICAL

affinity with the See also:

• DANCE
• DANCE (Fr. danse; of obscure origin, connected with Old High Ger. danson, to stretch)

dance-tunes of the See also:

• SUITE (Suite de pieces; Ordre; Partita)

SUITE (q.v.) . This See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme, however, is not very clearly defined, until the See also:

• WORKS

works of See also:

• BACH, JOHANN SEBASTIAN (1685–1750)
• BACH, KARL PHILIPP EMANUEL (1714-1788)

Bach and See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel, when it becomes the sonata See also:

• PAR (Lat. par, equal)

par excellence and persists as a tradition of See also:

• ITALIAN

Italian See also:

• VIOLIN

violin music even into the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early loth See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century in the works of See also:

• BOCCHERINI, LUIGI (1743-1805)

Boccherini . The sonata da camera consisted almost entirely of idealized dance-tunes . By the time of Bach and Handel it had, on the one See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, become entirely See also:

• SEPARATE

separate from the sonata, and was known as the suite, partita, ordre or (when it had a prelude in the form of a See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• OPERA (Italian for " work ")

opera-See also:

• OVERTURE (Fr. ouverture, opening)

overture) the overture . On the other hand, the features of sonata da chiesa and sonata da camera became freely intermixed . But Bach, who does not use those titles, yet keeps the two types so distinct that they can be recognized by See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and form . Thus, in his six See also:

• SOLO, OR SOLO WHIST

solo violin sonatas, Nos . 1, 3 and 5 are sonate de chiesa, and Nos . 2, 4 and 6 are called partitas, but are admissible among the sonatas as being sonate da camera . The sonatas of Domenico See also:

• SCARLATTI, ALESSANDRO (1659-1725)

Scarlatti (q.v.) are a See also:

• SPECIAL

special type determined chiefly by those kinds of See also:

• KEYBOARD, or MANUAL (Fr. clavier; Ger. Klaviatur; Ital. tastatura)

keyboard technique that are equally opposed, on the one hand, to contrapuntal style, and, on the other hand, to the supporting of melodies on a See also:

• LIFE

life-less See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

accompaniment .

Longo's See also:

• COMPLETE

complete collection of Scarlatti's sonatas shows that, See also:

• SHORT, FRANCIS JOB (1857– )

short of the true See also:

• DEVELOPED

developed sonata-style, there is nothing between the old sonata da chiesa and Beethovenish experiments in unorthodox " complementary keys" that Scarlatti does not carry off with a delightfully irresponsible " See also:

• IMPRESSIONISM

impressionism " that enables him to be See also:

• MODERN

modern in effect without any serious modern principle . See also:

• GREAT

Great, however, as the variety of his forms is now known to be, and numerous as are ' A movement is a piece of music forming a complete See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design, or at least not merely See also:

• INTRODUCTORY

introductory; and within such limits as either to contain no See also:

• RADICAL (Lat. radix, a root)

radical See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

pace or else to treat changes of pace in a See also:

• SIMPLE

simple and symmetrical See also:

• ALTERNATION (from Lat. alternare, to do by turns)

alternation of episodes . The first complete movement of a sonata seldom leads without break to the others, except in modern examples; but the later movements are often connected.the newly published slow movements, the normal Scarlatti sonata is that which the See also:

• CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert;-player popularizes; See also:

• FIREWORKS

fireworks in binary form, with a perfunctory opening, a See also:

• CROWD, CROUTH, CROWTH

crowd of pregnant ideas in the complementary See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key, and, after the See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar, a second See also:

• PART

part reproducing these ideas as soon as possible in the tonic . The sonatas of Paradies are mild and elongated works of this type with a graceful and melodious little second move, ment added . The See also:

• MANUSCRIPT

manuscript on which Longo bases his edition of Scarlatti frequently shows a similar juxtaposition of move• ments, though without definite indication of their connexion The style is still traceable in the sonatas of the later See also:

• CLASSICS

classics, whenever a first movement is in a See also:

• UNIFORM

uniform See also:

• RUSH
• RUSH, BENJAMIN (1745–1813)
• RUSH, RICHARD (1780–1859)

rush of rapid See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion, as in See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's violin sonata in F (Kochel's See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue, No . 377), and in several of See also:

• CLEMENTI, MUZIO (c. 1751-1832)

Clementi's best works . The sonata in its See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main classical significance is a See also:

• WORK

work for one or two See also:

• INSTRUMENTS

instruments consisting of a See also:

• GROUP

group of movements, four movements being the full scheme; the last movement in the same key as the first; each movement normally in one tempo, complete in design, See also:

• INDEPENDENT

independent from the other movements in themes, but aptly related to them in key and style; and constructed in the SONATA FORMS (q.v.) . Though, since the time of Bach (when trios were called sonatas), the term is not applied to works for more than two instruments, the full (and even the normal) characteristics of this most important of all instrumental See also:

• ART

art-forms are rarely revealed except in trios, quartets, &c., and symphonies .