ction to _cantata_: the one was a piece _sounded_
(_suonata_, from _sonando_) by instruments; the other, one _sung_ by
voices. The form of these early sonatas (as they appear in Giovanni
Gabrieli's works towards the close of the sixteenth century) was
vague; yet, in spite of light imitations, the basis was harmonic,
rather than contrapuntal. They were among the first fruits of the
Renaissance in Italy. But soon there came about a process of
differentiation. Praetorius, in his _Syntagma musicum_, published at
Wolfenbuettel in 1619, distinguishes between the _sonata_ and the
_canzona_. Speaking generally, from the one seems to have come the
sonata proper; from the other, the suite. During the whole of the
eighteenth century there was a continual intercrossing of these two
species; it is no easy matter, therefore, to trace the early stages of
development of each separately.

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