The elaborate cantatas of Luigi Rossi (born near the end of the sixteenth century, died about 1650) for a single voice--_a voce sola_--are among the very earliest examples of this form and are noteworthy illustrations of how quickly the vague and indefinite recitative of the Florentine monodies began to show tendencies to formal organization and a pleasing, fluent style for the solo voices. A fine example of the newly-awakened tendency toward definite form in secular music is found in his cantata _Gelosia_, which Burney quotes in full in his History and in which Parry[52] finds the following definite formal scheme, which had evidently been carefully thought out by the composer: A^1. 4/4, declamatory recitative of 23 measures and close. B^1. 3/4, tuneful--nine measures. C^1. 4/4, declamatory recitative of 19 measures. A^2. Same bass as A^1, but different words and varied voice-part. B^2. 3/4, same bass as B^1, but different words and different voice-part. C^2. 4/4, recitative. Same bass as C^1, but different words and different voice-part. A^3. Same music as A^1, but different words. B^3. 3/4, same as B^1, with different words. C^3. Same bass and almost the same voice-part as C^1 till last three measures, which are varied to give effect to the conclusion. Marc’ Antonio Cesti (about 1620-1669) was a pupil of Carissimi and went far beyond the efforts of his teacher in the formal construction of his melodies. His great popularity attests the increasing fondness of Italian taste for tuneful formality. One of his cantatas, _O cara libertà_, is said to have been one of the most famous of the century. Many of his melodies approximate the characteristic forms in which later vocal arias were cast, including the forms consisting of two contrasted parts (A B) and of three parts with the contrasted section in the middle (A B A). In the latter form the third part is a varied or free repetition of the first part.