The structure of the 3rd Sonata[54] is extremely simple. The first, probably an Allegro moderato, opens with a bold characteristic phrase, which is repeated in the second bar by the second cembalo; points of imitation, in fact, continue throughout the movement. At the seventh bar there is modulation to the dominant, and at the ninth, to the subdominant, in which the opening theme recurs. A stately antiphonal passage leads back to the principal key, and the movement concludes with a cadence such as we find in many a work of Bach's or Handel's. The Adagio opens with short phrases for each instrument alternately. A new subject in the relative major is treated in imitative fashion. After a return to the opening theme, also an allusion to the second theme, a new figure is introduced, but the movement soon comes to a close. This slow movement brings to one's mind "The Lord is a Man of War," and the major section of the duet, "Thou in Thy Mercy," in Handel's _Israel in Egypt_. The third movement, in structure, much resembles the first; the music is broad and vigorous. The closing bars suggest the stringendo passage and presto bars in the coda of the Scherzo of the "Choral Symphony." Of course it is disappointing to have only the bass parts for each instrument. The volume, as we have already stated, was for the use of Ricordati, and probably the uncle and nephew performed these sonatas together. Musicians will be able to write out the figured basses, and thus form some idea of the music. The figures are an outline of what was in the composer's mind; but these basses, like those of Bach and Handel, so simple, so clear to the composers who penned them, will always remain more or less a _crux criticorum_. It will be noticed that the three movements, as in some of Corelli's sonatas, are all in the same key. We now give the opening bars of the three movements of the piece for one or two cembali:-- [Music illustration] All the other sonatas are more or less after the pattern of the one given. The other two volumes contain suites, airs with variations, arias, and a quantity of short figured basses, apparently as studies.