=Dance Tunes=.—But, in this new style, the old basis for Unity in the composition, furnished by the imitation of one part by another, had to be abandoned, since only one melodic part existed at a time; hence a new _basis_ had to be found in the manner in which _harmonies succeeded_ each other. In determining such chord relationships, composers were obliged to look elsewhere than to the old Church music; and so turned their attention to the forms of Dance Tunes which had already been in use for a long time among the people in their Folk-songs, and in the performances of the wandering minstrels. Most of these dance tunes were formed in a very simple _two-part_ design of harmony, consisting in a transition from the initial key to a contrasting key, for the first part, and a return from the contrasting key to the first key, in the second part. =Origin of the Suite=.—A book of such dances, based, however, on the clumsy church modes, was published in 1551. Later, however, such dances came to be written in the new harmonic style; and by putting together a set of dances all in the same key but differing in rhythm and mode of expression, a larger form of composition was devised, combining Variety with Unity. To this form the name of Suite was given. [Illustration: GIROLAMO FRESCOBALDI.] =Frescobaldi=.—Another element tending to give Unity to the composition was developed when composers learned to work out a _single subject_, or melodic phrase representing a definite musical idea, by introducing it a number of times in the course of the composition, sometimes with slight variation, but always recognizable and used in such a way as to bind the various parts the more closely together by their similarity of conception. Several organists at Rome wrote music which possessed such unity of idea. One of these was =Girolamo Frescobaldi= (1583-1644), a man who was a close student of the best Italian music of his time, and who had, moreover, been brought into contact with Netherlands ideas through travel in Belgium. On his first appearance as organist of St. Peter’s in Rome, in 1615, so great fame had preceded him that over 30,000 people are said to have attended the performance. His skill on the clavier was no less than that on the organ; and for both of these instruments he wrote Ricercari, Canzone and Capricci, which showed considerable unity of subject, together with fluency in the treatment of chromatic progressions, and a wealth of invention, which displayed itself in novel themes and unusual harmonies; his compositions are well worth study. =Pasquini=.—In the second half of the 17th century, =Bernardo Pasquini= (1637-1710), a pupil of the opera composer Cesti, carried on the work at Rome. In his toccati he shows great freedom in departing from the strict vocal style, and his clavier works have features, like the sustained trill, which distinguish them decidedly from organ works.