find the germs of sonata-form in Corelli’s works. =Corelli’s Pupils=.—Among Corelli’s pupils must be mentioned =Francesco Geminiani= (1680-1762), who spent part of his life in England. He published the first work of a pedagogic character, a “Method for Violin Playing,” in London, in 1740. He also recommended holding the violin on the left side instead of on the right, as was customary in his time. =Pietro Locatelli= (1693-1764) greatly influenced the development of violin technic. =Giovanni Battista Somis= (1676-1763) lived at Turin, was the teacher of Pugnani, the instructor of Viotti. =Antonio Vivaldi= (1675-1743) devoted himself to virtuosity and influenced the Concerto from this point. He was fertile and ingenious in making new combinations and devising new effects. J. S. Bach arranged his works, sixteen for the clavier, four for the organ, and one as a concerto for four claviers and a quartet of stringed instruments. Still another name is to be mentioned, that of =Francesco Maria Veracini= (1685-1750), who greatly influenced Tartini by his playing. He was a player full of temperament, which made his playing powerfully expressive. His sonatas are bold in harmonic and melodic treatment, and well constructed. Their technical difficulty is considerable. (His lifetime coincides with Bach.) [Illustration: GIUSEPPE TARTINI.] =Giuseppe Tartini= (1692-1770) is one of the commanding figures of musical history. He was intended for the profession of law by his parents but, fortunately for music, did not fall in with the plan. A hasty marriage with the niece of an archbishop brought him into trouble, and he fled to a monastery, where he spent two years, devoting the greater part of his time to musical studies. At the end of this time he was allowed to rejoin his wife, and went to Venice, where he learned to know Veracini, with whom he studied to correct the faults he had acquired through pursuing his studies undirected. Again he went into retirement and gave himself up to the study of violin technic. Among other things he made some improvements in the bow, increasing the range of effects. His contemporaries ascribe to him “a fine tone, unlimited command of fingerboard and bow, perfect intonation in double stops, a most brilliant trill and double trill as well, which he could execute equally well with all fingers.” His celebrated composition “_Il Trillo del Diavolo_” (“The Devil’s Trill”) shows his skill in embellishments. A technical work “_Arte dell’ Arco_” (“The Art of Bowing”) gives a clear idea of his method in that branch of the violinist’s art. In his compositions he shows advance on Corelli and Vivaldi, for his melody is broader, his phrases more developed and clearer, his harmonies richer and better contrasted, with many passages of a strongly emotional character. He wrote a great number of pieces, sonatas and concertos. In addition to his work as player and composer, Tartini devoted himself to teaching. His school at Padua