[Music illustration: (Frederick) Sonata 1. First Movement.]

In these "Frederick" Sonatas there is as yet no tendency to enharmonic
and other surprise modulation such as Bach afterwards displayed. Then
as to technique, we find here octaves and large chords comparatively
rare,[61] while scale passages are more restricted. Like Beethoven,
Emanuel Bach seized hold of additional notes to the keyboard. In 1742
his highest and lowest notes, apparently, were--

[Music illustration]

but afterwards--

[Music illustration]

In the introductory chapter we noted the change with regard to the
number of movements of a sonata which took place between 1683, when
Corelli published his first sonatas, and 1740, when E. Bach composed
his first set. Instances were given of sonatas in three movements by
Corelli, but with that composer _four_ was the normal number; with E.
Bach, _three_. This change came about in great measure through the
concerto. From E. Bach, we are able to show the links in the chain of
development: Bach, Haydn, Mozart, Beethoven; but though between
Kuhnau, the first writer of sonatas for the clavier, and Bach, B.
Pasquini wrote, as mentioned in the last chapter, sonatas in three
movements, yet we have no knowledge that Bach was acquainted with
them. Kuhnau, in fact, however interesting a phenomenon in the musical
firmament, is not necessary to explain the appearance of Bach. Joh.
Sebastian Bach was undoubtedly acquainted with the "Bible" Sonatas. He
must have admired them, but he may have been afraid of the freedom of