This copy is dated 1714; it thus belongs to the Weimar period. The _canzona_ in _D_ minor[87] must have been written shortly after the completion of this task; at any rate, it is interesting to trace the characteristics of this piece to that source. [Footnote 87: P. iv, 10.] Notice first of all the theme; it is found in the _Canzon Dopo la Pistola_ (sic), on page 77 of the _Fiori musicali_ (edition of 1635), where it appears as the answer to the principal subject. Frescobaldi presents it in this form: [Music] The chromatic countersubject is also found in the _Fiori musicali_, in the fifth verse of the _Kyrie delli Apostoli_ (Christe, p. 38). [Music] Further, in comparing the sixth measure of this _Christe_ with the tenth part of the _Canzona_ of Bach, we see why these two themes, although quite in the style of Bach, still are obviously the result of his study of Frescobaldi; in fact, this measure contains a fragment of the theme just quoted, with the very alteration afterwards made by Bach. In this present case of the employment of a chromatic countersubject Bach evidently had Frescobaldi in mind; considering, and rightly, the frequent use of motives of this kind to be characteristic of the latter. But while Bach believed himself in so far indebted to an Italian master, he was in reality only following the traditions of Sweelinck,[88] who had already furnished him noteworthy examples of this style. [Footnote 88: Sweelinck, who was born at Deventer about 1560, studied with Zarlino at Venice, and upon his return home in 1580 occupied (until his death in 1620) the position of organist to the old Protestant Church in Amsterdam (see Max Seiffert: _J. Peter Sweelinck und seine directen deutschen Schüler_).] In fact, Frescobaldi acquired these resources during his stay in Flanders; perhaps he obtained them from Sweelinck himself, whom he undoubtedly knew in Amsterdam. A Fantasie by Sweelinck, edited by R. Eitner,[89] is written wholly upon this form of the Ionic tetrachord: [Music] [Footnote 89: It is the third number in the volume entitled, _Drei Phantasien, drei Toccaten und vier Variationen, nach einem Manuscript des grauen Klosters zu Berlin aus der Orgeltabulatur übersetzt und herausgegeben von Rob. Eitner_ (Berlin, 1870).] We may compare the counterpoint which accompanies it with those of Frescobaldi and of Bach: [Music] These characteristics of treatment found great favor with Flemish organists, by whom they were introduced. Peter Philipps, an organist of Soignies, makes use of them in a "_Gagliarda_," and in the "_Pavana dolorosa_"; composed in prison, according to an addition in a strange hand in the manuscript. S. Scheidt, a pupil of Sweelinck, avails himself of them in various instances (_Fantaisie super "Io son ferito casso_," "_Fuga quadruplici_," etc.).