Marpurg, in his description of various kinds of pieces in his _Clavierstuecke_, published at Berlin in 1762, says: "Sonatas are pieces in three or four movements, marked merely _Allegro_, _Adagio_, _Presto_, etc., although in character they may be really an _Allemande_, _Courante_, and _Gigue_." Corelli, as will be mentioned later on, gave dance titles in addition to Allegro, Adagio, etc. Marpurg also states that "when the middle movement is in slow time it is not always in the key of the first and last movements." This, again, shows intercrossing. The genuine suite consisted of several dance movements (Allemande, Courante, Sarabande, Gigue) all in the same key. But we find occasionally in suites, a Fugue or Fuguetta, or even an Aria or Adagio; and in name, at any rate, one dance movement has formed part of the sonata since the time of Emanuel Bach. In 1611, Banchieri, an Olivetan monk, published at Venice his _L'Organo suonarino_, a work "useful and necessary to organists,"--thus runs the title-page. At the end of the volume there are some pieces, vocal and instrumental (a Concerto for soprano or tenor, with organ, a Fantasia, Ricercata, etc.), among which are to be found two _sonatas_, the one entitled, "Prima Sonata, doppio soggietto," the other "Seconda Sonata, soggietto triplicato." They are written out in open score of four staves, with mezzo-soprano, alto, tenor, and bass clefs. To show how the sonatas of those days differed both in form and contents from the sonata of our century, the first of the above-mentioned is given in short score. It will, probably, remind readers of "the first (_i.e._ sonatas) that my (_i.e._ Dr. Burney) musical inquiries have discovered, viz., some sonatas by Francesco Turini, which consisted of only a single movement, in fugue and imitation throughout." [Music illustration] Turini was organist of Brescia Cathedral, and in 1624 published _Madrigali a una, due, tre voci, con alcune Sonate e a tre, Ven. 1624_. Between Turini, also Carlo Farina, who published violin sonatas at Dresden in 1628, and Corelli (_b._ 1653), who brought out his first work in 1683, one name of great importance is Giovanni Legrenzi. In the eighth volume of Dr. Burney's musical extracts there are two sonatas, _a tre, a due violini e violone_, by Legrenzi (opera ottava, 1677). The first is in B flat. It commences with a movement in common time entitled _La Benivoglia_. [Music illustration] An Adagio in G minor (only six bars) is followed by an Allegro in D minor, six-eight time, closing on a major chord; then eight bars common time in B flat (no heading); and, finally, a Presto (three-four) commencing in G minor and closing in B flat. None of the movements is in binary form.