Editing Sonata (section)

=== Baroque ===
[[File:Archive-ugent-be-0B4371EA-DD2B-11E1-8693-E85B8375B242 DS-5 (cropped).jpg|thumb|upright=1.4|Individual sheet music of a sonata, written in the Baroque period.<ref>{{Cite web|title=Sonata|url=https://lib.ugent.be/viewer/archive.ugent.be:0B4371EA-DD2B-11E1-8693-E85B8375B242#?c=&m=&s=&cv=1&xywh=0,-1012,11855,6619|access-date=2020-08-27|website=lib.ugent.be}}</ref>]]
In the works of [[Arcangelo Corelli]] and his contemporaries, two broad classes of sonata were established, and were first described by [[Sébastien de Brossard]] in his ''Dictionaire de musique'' (third edition, Amsterdam, ca. 1710): the [[sonata da chiesa]] (that is, suitable for use in church), which was the type "rightly known as ''Sonatas''", and the [[sonata da camera]] (proper for use at court), which consists of a prelude followed by a succession of dances, all in the same key.<ref name=":0" />{{Rp|page=|pages=21,40}} Although the four, five, or six movements of the sonata da chiesa are also most often in one key, one or two of the internal movements are sometimes in a contrasting tonality.{{sfn|Newman|1972a|loc=23–24}}

The sonata da chiesa, generally for one or two [[violin]]s and [[basso continuo]], consisted normally of a slow introduction, a loosely fugued [[Allegro (music)|allegro]], a [[wikt:cantabile|cantabile]] slow movement, and a lively finale in some [[binary form]] suggesting affinity with the dance-tunes of the [[suite (music)|suite]]. This scheme, however, was not very clearly defined, until the works of Arcangelo Corelli when it became the essential sonata and persisted as a tradition of Italian violin music.

The sonata da camera consisted almost entirely of idealized dance-tunes. On the other hand, the features of ''sonata da chiesa'' and ''sonata da camera'' then tended to be freely intermixed. Although nearly half of [[Johann Sebastian Bach]]'s 1,100 surviving compositions, arrangements, and transcriptions are instrumental works, only about 4% are sonatas.{{sfn|Newman|1972a|loc=266}}

The term ''sonata'' is also applied to the series of [[List of solo keyboard sonatas by Domenico Scarlatti|over 500 works for harpsichord solo]], or sometimes for other keyboard instruments, by [[Domenico Scarlatti]], originally published under the name ''Essercizi per il gravicembalo'' (Exercises for the Harpsichord). Most of these pieces are in one binary-form movement only, with two parts that are in the same tempo and use the same thematic material, though occasionally there will be changes in tempo within the sections. They are frequently virtuosic, and use more distant harmonic transitions and modulations than were common for other works of the time. They were admired for their great variety and invention.

Both the solo and [[trio sonata]]s of [[Antonio Vivaldi|Vivaldi]] show parallels with the concerti he was writing at the same time. He composed over 70 sonatas, the great majority of which are of the solo type; most of the rest are trio sonatas, and a very small number are of the multivoice type.{{sfn|Newman|1972a|loc=169–70}}

The sonatas of [[Pietro Domenico Paradisi|Domenico Paradies]] are mild and elongated works with a graceful and melodious little second movement included.