=Scarlatti’s Use of Form=.—In the matter of form, Scarlatti developed still further the work of his predecessors, applying to the harpsichord the principles asserted by Corelli and his school. His Sonatas were written in _one movement_ only, and have very _definite subjects_, which are carried out along recognized lines. His Capriccii—short pieces written in a rhythmic and delicately staccato style—are some of his best works, and undoubtedly paved the way for the Scherzi, written by Beethoven and Mendelssohn. His compositions are short, but concise and definite. =Scarlatti’s Style of Playing=.—But his chief addition to musical material lies in the new style of playing which he invented. Novel effects, like crossing the hands, long leaps, broken chords in contrary motion, rapidly repeated notes, and runs in thirds and sixths—effects which were in many cases far ahead of his time, since they were not used by succeeding composers until a much later period—were employed by him with the utmost fluency, so that he has been aptly called the father of modern pianoforte technic. [Music: EXAMPLES OF SCARLATTI’S STYLE.] =Durante=.—The Neapolitan school boasted several other worthy clavier composers, who contributed in various ways to the composition of the Sonata. One of these was =Francesco Durante= (1684-1755), who wrote sonatas in two movements of different character but in the same key. The first, called a Studio, was written as a free fugue with running passages; the second, or Divertimento, was more animated and less scholastic. =Domenico Alberti= (1707-1740) composed sonatas similar in general form, but of less artistic worth, consisting as they did simply of a single-voiced melody, supported by an harmonic accompaniment having no independence of style. Much of this was in the form of broken chords, a mannerism which was afterwards used to excess, and became dubbed the “Alberti bass.” This accompaniment form doubtless suited the clavichord and harpsichord, but is not so well adapted to the more sonorous modern piano. It is still used by composers for very simple accompaniments. [Music] =Pier Domenico Paradies= (1710-1792) deserves special mention as the writer of elegant and well-balanced clavier music. He first won success as a composer of operas, which were given in Italy, and afterwards in London, where he finally settled as clavier teacher. His sonatas have two movements, like Durante’s, and contain brilliant allegros, besides attractive melodies. His two-part rapid contrapuntal work is excellent, both for musical merit and for technical study.