At first the term merely distinguished an instrumental piece from a piece with voice, which was called a cantata. Thus many early concertos, suites, and sets of variations were called sonatas. As the various instrumental forms acquired differentiated characteristics during the baroque period, the term began to identify two specific types: the sonata de chiesa, or church sonata, and the sonata da camera, or chamber sonata. Both were written most commonly for two melody instruments, usually violins or flutes, with a bass instrument and a keyboard instrument, both of which played the thorough bass (see figured bass). The sonata da chiesa was in four movements—slow, fast, slow, fast—and its contrapuntal style was largely derived from the canzone. The sonata da camera was basically a suite of dances, although nondance movements were added later.

In the late 17th cent. these two types merged into the outstanding baroque chamber music form, the trio sonata. This form was brought to perfection in the works of Arcangelo Corelli and François Couperin and adopted in the sonatas of J. S. Bach and Handel. In the later 18th cent. sonatas for groups of instruments began to be designated string quartet and symphony, and the term sonata was limited to pieces for one keyboard instrument or for one solo instrument (e.g., violin) with keyboard accompaniment. The keyboard sonata was developed in the works of rococo Italian composers such as Galuppi, G. B. Sammartini (1701-75), and P. D. Paradies (1707-91). This rococo sonata was more homophonic than the trio sonata, having one outstanding melodic line with accompanying harmonic background, such as the Alberti bass. In sonatas of this type, particularly those of C. P. E. Bach, an expressive quality and pianistic style were developed that influenced the classical sonata, perfected by Haydn, Mozart, and Beethoven.

The classical sonata's movements are usually fast-slow-fast, and a minuet or scherzo is often inserted before the last movement. The first movement—and possibly one or more of the others—was in what is called sonata form. This is essentially a binary form, the first part being an exposition of two (or sometimes three) contrasted themes. The second part consists of a development of these themes and a recapitulation of the beginning exposition. Sonata form is employed in the string quartet, in the symphony, and to some extent in the concerto, as well as in the solo sonata. After the classical era the most significant development was the use of one thematic idea in all movements, in each of which the basic idea is transformed in mood and character. This type of sonata was fully realized in the Sonata in B Minor of Franz Liszt.

Principal chamber music genre of the Baroque era. Despite its name, it requires four performers: two melody instruments and continuo (usually a keyboard instrument and a bass instrument). It arose early in the 17th century as an instrumental version of the Italian vocal-duet ensemble. The two upper instruments, usually violins, generally wove their melodic, quasi-vocal lines high above the accompanying parts. Two standard forms emerged after 1750: the sonata da chiesa, or church sonata, standardized as a four-movement form (in slow-fast-slow-fast order); and the suite-like sonata da camera, or chamber sonata. By 1770 the genre had been abandoned in favour of the solo sonata.

Learn more about trio sonata with a free trial on Britannica.com.

Musical form for one or more instruments, usually consisting of three or four movements. The name, Italian for “sounded (on an instrument),” originally simply indicated nonvocal music and was used for a confusing variety of genres into the late 17th century. In the 1650s two types of ensemble sonatas began to be codified, the sonata da chiesa (church sonata) and sonata da camera (chamber sonata). The former, intended for church performance, was generally in four movements, two of them slow; the latter was usually a suite of dances. The so-called solo sonata (for soloist—usually violin—and continuo) and the trio sonata (for two soloists and continuo) became standard. In the 1740s solo keyboard sonatas began to be written. C.P.E. Bach established the three-movement keyboard sonata as the norm, a status it would retain through the classical era. Duo sonatas in the same form, usually for violin and keyboard, simultaneously became highly popular. Keyboard and duo sonatas have remained the standard types to the present day. From Bach's time onward, the first movement was generally in allegro tempo and in sonata form. The second movement was usually slow. The last movement was generally a minuet, rondo, or theme and variations. In a four-movement sonata, the third was usually a minuet or scherzo. In these respects the sonata paralleled genres such as the symphony and the string quartet.

Learn more about sonata with a free trial on Britannica.com.