Lessons or Suites. However, twelve published by J. Johnson, London,
are described on the title-page as _Sonatas modernas_.

From the earliest days of instrumental music dance tunes were divided
into two sections. The process of evolution is interesting. In the
earliest specimens, such as the _Branle_ given in the Orchésographie
of Thoinot Arbeau, we find both sections in the same key, and there is
only one theme. The movement towards the dominant note in this
_Branle_ may be regarded as a latent modulation. In time the first
section was developed, and the latent modulation became real; then,
after certain intermediate stages, the custom was established of
passing from the principal to the dominant key (or, in a minor piece,
to the relative major or dominant minor), in which the first section
closed. But in Corelli,[12] and even in Scarlatti,[13] we find,
occasionally, a return to an earlier stage (_i.e._ a first section
ending in the same key in which it commenced). In most of his pieces
Scarlatti modulates to the dominant; in minor, to the relative major.
Some exceptions deserve mention. In the Breitkopf & Härtel collection,
No. 26, in A major, passes to the minor key of the dominant; and No.
11, in C minor, modulates to the minor key of the dominant, but the
section closes in the major key of the dominant.

Scarlatti's sonatas consist, then, of one movement in binary form of
the early type. Only in a few of these pieces is there a definite
second subject; in none, a return to the opening theme. [Music
illustration] In No. 26 there is just a return to the first bar (see
second section, bar 11), but the previous ten bars show no modulation,
and one can scarcely speak of thematic development. After the few bars
of development and modulation, in some cases, the second section is
found to consist merely of a repetition of some part of the first