=Willaert and His Pupils=.—Willaert was especially successful as a teacher, and thus left a number of accomplished pupils to carry on his labors. Of these, =Girolamo Parabosco= (1593-1609) was noted for his free fantasias, and his improvisations of sonatas on the harpsichord; while =Claudio Merulo= of Correggio (1533-1604) wrote a number of toccatas, in which the old church chorale style was relieved by contrasting passages consisting of brilliant runs. The Toccata, or _touch_ piece, had, as its characteristics, such _quick running passages_, probably first suggested by the light tone and action of the Clavier. While these runs had at first very little relevancy to one another, they were much delighted in by these early pioneers, who sported with them as a child plays with a new toy. =The Gabrieli’s=.—Two other organists of St. Mark’s, =Andreas Gabrieli= (1510-1586), and his nephew and pupil, =Giovanni Gabrieli= (1557-1613), added to the resources of instrumental music. The first of these, a pupil of Willaert, himself became a famous teacher; and both contributed many canzone and sonatas to organ and clavier literature. In all these the subjects were distinct, and, in the canzone especially, the many quick passages and changing rhythms were used in a manner that contributed to unity. =The Harpsichord in Opera=.—A new factor now appeared in Florence, destined greatly to further the cause of clavier music: namely, the Opera. Taking the position of the conductor’s instrument, the harpsichord became the most useful member of the orchestra, and was employed constantly to fill in vague harmonies, and to strike chords as a support to the musical declamation of the singers. Such chords were not generally written out, but were suggested by their bass note, over which figures were written to show their positions. To this shorthand system the name of Thorough-bass was given. In this way the value of chord combinations came to be recognized, and the relationships of such chords studied entirely apart from the voice writing; so the idea of a single melody, supported by occasional chords, was transplanted from the Opera, and the modern harmonic style of music came into being.