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127:. It generally comprises a suite of several small pieces in the same mode or key that are suitable for dancing. A significant number of such works were produced during the mid- to late- 17th century by composers in Germany, including
243:, but such works were often performed with a cellist or other instrument doubling the bass. Recent scholarship has revealed that the instruments used for to play basso continuo in Corelli's milieu were quite diverse, including
251:, and organ. Ambiguities on the title pages of Corelli's works have led many to conclude that the continuo might have been either a harpsichord or a cello, rather than both, as was previously assumed.
172:, which literally meant "church music", but generally comprised a suite of four movements with tempos following a largo–allegro–largo–allegro pattern.
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was originally used in its literal meaning of "chamber music", but later came to be used figuratively to contrast this genre of composition with the
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and three dances or connecting movements)". The movements either were given tempo indications or names that indicated the style of dance, e.g.,
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is a 17th-century genre of musical composition for one or more melody instruments and
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Watkin, David (1996). "Corelli's Op.5 Sonatas: 'Violino e violone o cimbalo'?".
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As in
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during the late 17th century, when the works of composers such as
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https://doi.org/10.1093/gmo/9781561592630.article.26196
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https://doi.org/10.1093/gmo/9781561592630.article.26196
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482:Sonata form
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185:dance suite
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162:The term
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211:Legrenzi
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