Corrente (Allegro).
Allemanda (Allegro).

Op. 4, No. 12 (B minor) Preludio (Largo).
Allemanda (Presto).
Giga (Allegro).

It is interesting to note that each of the two sonatas (Op. 1, No. 7,
and Op. 4, No. 10), most in keeping with its title of sonata, has the
middle movement in a relative key. Op. 1, No. 7, begins with an
Allegro in common time; and the short Grave is followed by a light
Allegro in six-eight time. The first movement, with its marked return
to the principal key, is very interesting in the matter of form. The
other sonatas with suite titles have all their movements in the same
key. Locatelli in his _XII Sonate_ for flute, published early in the
eighteenth century, has in the first: Andante, Adagio, Presto; also
Nos. 3, 5, etc. So, too, in Tartini's Sonatas (Op. 1) there are also
some in three (No. 3, etc.). But Emanuel Bach commenced with that
number, to which, with few and unimportant exceptions, he remained
faithful; likewise to the slow movement dividing the two quick ones.
The three-movement form used by J.S. Bach for his concertos and
sonatas no doubt considerably influenced his son. But already, in
1668, Diderich Becker, in his _Musikalische Frülings-Früchte_, wrote
sonatas for violins, etc. and _continuo_, in three movements. (No. 10,
Allegro, Adagio, Allegro. Again, Sonata No. 19 opens with a movement
in common time, most probably an Allegro; then comes an Adagio, and,
lastly, a movement in six-four, most probably quick _tempo_.) These
sonatas of Becker _a 3_, _4_ or _5_, with _basso continuo_, are
unfortunately only printed in parts. As a connecting link between the
Gabrielis and Corelli, and more particularly as a forerunner of