Fasch, Domenico Scarlatti, Locatelli, and Gluck, and most of the later Italians, who continued to prefer this easily comprehended form, placing but simple problems of musicianship before the composer. It was eminently suited to the easy grace of polite music, of the ‘salon’ music of the eighteenth century. But in the works of German suite writers especially the restatement of the first theme after the double bar displays almost from the beginning a tendency toward variety, abridgment, expansion, and modulation of harmony. Gradually this section assumed such a bewildering, fanciful character, such a variety of modulations, that the subject in its original form was forgotten by the hearer, and all recollection of the original key had been obliterated from the mind. Composers then grasped the device of restating the first theme in the original key after this free development of it, and then restating the second theme as before. Both the tonic and the dominant elements of the first section (or exposition) are now seen to be repeated in the tonic key in the restatement section (or recapitulation) and the form has assumed the following shape: ||:A¹--B²:||:(A²) | Development or | A¹--B¹:| ‘Working-out’ This is clearly a three-division form, and as such is closely allied to the ballad form, or _ternary_ song-form, which is as old as the binary. Already Johann Sebastian Bach in his Prelude in F minor, in the second part of the ‘Well-tempered Clavichord,’ gives an example of it, and in Emanuel Bach and his German contemporaries this type becomes the standard. But it is curious to observe how strongly the Italian influence worked upon composers of the time, for, whenever the desire to please is evident in their work, we see them adopt the simpler pattern, and even when the ternary form is used the so-called ‘working-out’ is little more than an aimless sequence of meaningless passage work intended to dazzle by its brilliance and its grandiose effects, with but little relation to the subject matter of the piece. Even Mozart and Haydn veered back and forth between the two types until they had arrived at a considerably advanced state of maturity.