The toccatas and the fantasias are on a much broader plan than the preludes. The former are essentially impressive, if not show pieces. They are usually built up upon a series of brilliant runs, oftenest scales or close arpeggios, with slower moving passages of chords and contrapuntal weavings scattered here and there. The fantasias are, as the name implies, quite free and irregular in form. Both fantasias and toccatas are for the most part distinctly in organ style. Their glory is, like the beauty of the preludes, a glory of harmony. The long, rapid runs may have lost their power to thrill ears that have heard the studies of Liszt; but the chords which lie under them have a majesty that seems to defy time. There are several ‘concertos’ and ‘sonatas’ of which to say much is to repeat what has already been said of other forms of his music. Both are obviously indebted to Vivaldi for style, or the external features of style, as well as for form. The idea of the concerto in Bach’s day was not the idea which Mozart planted firmly in the mind of musicians. To show off the special qualities of the harpsichord against the background of an orchestra is not often evident as a purpose in Bach’s concertos. He wrote for the harpsichord much as he wrote for the orchestra; or for the orchestra as he wrote for the harpsichord. To the solo instrument he allotted passages which required a fineness in execution of details, or passages which he wished to be softer than the general run of the music. There is a clear intention to get contrast between the group of instruments and the solo instrument, but apparently little to write for the two in a distinct style. One may take the D minor concerto for harpsichord and a group of instruments, or even better, the Italian Concerto, for a single harpsichord, preferably with two manuals, as the perfect type. The arrangement and number of movements is well worth noticing. There are three, of which the first and last are in the same key and of about the same length and style. The middle movement is in a contrasting key, is shorter and nearly lyric in character. The scheme is perfectly balanced as a whole, and, it will be noticed, shows little kinship with the suite.