Despite the mixture of styles in the fugue, however, the preponderant element was still the basket-like texture of winding melodies suitable especially to voices--hence it was only in the suite, a type which developed at the same time and of which also Bach was one of the supreme masters, that the homophonic style suitable to instruments was freely worked out. Instruments mark the rhythm much more strongly than voices, so that all sorts of dance movements are particularly appropriate for them. When the rhythm is so marked, comparatively short phrases of tune stand out sharply and balance each other like the verses in a couplet of poetry. Composers soon found out how further to group these phrases in definite parts or sections, so contrasted that the whole of the short piece or 'movement’ presented a perfectly clear, sharp impression, had a definite beginning, middle, and end--a clear scheme of form. This clearness of impression was enhanced by making only one line of melody--the 'tune’ or 'air,’ as we say--prominent, either subordinating all the others or doing away with them entirely in favor of an accompaniment of detached chords such as we find in a modern waltz or march. The suite, then, as it is found in its golden age, the eighteenth century, is a series of short dance tunes of strongly marked rhythm, precise in phraseology and concise in form, in the homophonic style. Among its masters may be mentioned, besides the German Bach, Couperin and Rameau in France, Corelli (violin) and Scarlatti (harpsichord) in Italy, and Handel in England.