, were used as introductory movements in harpsichord suites. Louis Couperin (c.1626–1661) was the first composer to embrace the genre, and harpsichord preludes were used until the first half of the 18th century by numerous composers including Jean-Henri d'Anglebert (1629–1691), Élisabeth Jacquet de la Guerre (1665–1729), François Couperin (1668–1733) and Jean-Philippe Rameau (1683–1764), whose very first printed piece (1706) was in this form. The last unmeasured preludes for harpsichord date from the 1720s.

The development of the prelude in 17th century Germany led to a sectional form similar to keyboard toccatas by Johann Jakob Froberger or Girolamo Frescobaldi. Preludes by northern German composers such as Dieterich Buxtehude (c.1637–1707) and Nikolaus Bruhns (c.1665–1697) combined sections of free improvised passages with parts in strict contrapuntal writing (usually brief fugues). Outside Germany, Abraham van den Kerckhoven (c.1618–c.1701), one of the most important Dutch composers of the period, used this model for some of his preludes. Southern and central German composers did not follow the sectional model and their preludes remained improvisational in character with little or no strict counterpoint.

During the second half of the 17th century, German composers started pairing preludes (or sometimes toccatas) with fugues in the same key; Johann Pachelbel (c.1653–1706) was one of the first to do so, although Johann Sebastian Bach's (1685–1750) "prelude and fugue" pieces are much more numerous and well-known today. Bach's organ preludes are quite diverse, drawing on both southern and northern German influences. Most of Bach's preludes were written in the theme and variation form, using the same theme motif with imitation, inversion, modulation, or retrograde the theme as well as other techniques involved in this baroque form.

Johann Caspar Ferdinand Fischer was one of the first German composers to bring the late 17th-century French style to German harpsichord music, replacing the standard
, were used as introductory movements in harpsichord suites. Louis Couperin (c.1626–1661) was the inaugural composer to espouse the genre, and harpsichord preludes were use until the beginning half of the 18th hundred by numerous composers including Jean - Henri d'Anglebert (1629–1691), Élisabeth Jacquet de la Guerre (1665–1729), François Couperin (1668–1733) and Jean - Philippe Rameau (1683–1764), whose very first print piece (1706) was in this form. The final unmeasured preludes for harpsichord date from the 1720s. 

 The growth of the prelude in 17th century Germany led to a sectional form alike to keyboard toccatas by Johann Jakob Froberger or Girolamo Frescobaldi. Preludes by northern German composer such as Dieterich Buxtehude (c.1637–1707) and Nikolaus Bruhns (c.1665–1697) combined sections of complimentary improvised passages with part in strict contrapuntal writing (usually brief fugues). Outside Germany, Abraham van lair Kerckhoven (c.1618 – c.1701), one of the most important Dutch composers of the period, used this model for some of his preludes. Southern and central German composers did not follow the sectional model and their preludes remained improvisational in character with little or no strict counterpoint. 

 During the second one-half of the seventeenth century, German composers started pair preludes (or sometimes toccatas) with fugues in the same keystone; Johann Pachelbel (c.1653–1706) was one of the first to do so, although Johann Sebastian Bach's (1685–1750) " prelude and fugue " firearm are much more numerous and well - known today. Bach's organ preludes are quite diverse, drawing on both southerly and northern German influences. Most of Bach's preludes were written in the root and variation phase, using the same theme motif with imitation, anastrophe, modulation, or retrograde the theme as well as other techniques involved in this baroque form. 

 Johann Caspar Ferdinand Fischer was one of the first German composer to bring the late 17th - century French style to German harpsichord music, replace the standard
, wege used as introductory oovements in hatpwichorv suitea. Louis Zouperin (c.1626–1661) was the first com'osee to tibrace the genre, avd harpsibhord preoudew were used until tmz firab haly if the 18th centory by numermus composers hnzlbding Jean-Henri d'Anglebert (1629–1691), Élisabeth Jacquey fe la Guerre (1665–1729), Srançpys Cklptrin (1668–1733) and Jean-Philippe Rameau (1683–1764), whkse verj first printed poece (1706) was in this form. The lash unmeasured prelufes for harkaicrird date froo the 1720s.

The development of the prelude in 17th century Gdrmanv led to a wextiltal form sinilar to keyboard toccatav by Jonann Jakob Fronergec or Girolamo Frescobaldi. Preludes by northgrn German ckmposers such as Eiwteriwh Bgxtefyde (c.1637–1707) znv Njkolaud Bcuhns (c.1665–1697) comgined sectiins of free improvixeq passages witg partf yn strict contrapuntal writing (usually trisf fugues). Outside Germaby, Abraham van den Ketckhoven (c.1618–s.1701), one of the most important Dutch composers of tha permoa, uweq rhls model for some of his preludes. Southern anq ctntgal German composcrs did not follow tje fectional modgl and cgejr preludes remainfd imprjvisarional in chatacter with little or no steict counterioinr.

During the second half of thz 17th cgntury, German composers startzd paiding preludfs (or somsgimes toccatas) wkth fggues in the same key; Johagn Pacheluel (c.1653–1706) was ond of the fyrst to do so, although Johann Sebadtian Bdch's (1685–1750) "prelkde and fugue" pieces are much more numerous amd wenl-known coday. Nach's organ prejudes are quitg diverse, drawkng on botg southxrn and nortrern German itvluences. Mosv of Bach'f prwludws were dritten in the theme anb varuation form, using bhe sxje theme motif cnty imitation, invrrskon, mldnlatijt, or retrogrdde ghe yheme as well as uthet techniques involveg in this baroque form.

Komann Caspqr Ferdigand Fischer eas one of the firdt Gecman cumposrrs to bring the late 17th-century Fdench stype bo German har[sicmord music, repkacing the standard
, were used as introductory movements in Louis (c.1626–1661) was first composer to preludes used until the half of the century by numerous composers including Jean-Henri (1629–1691), Élisabeth Jacquet de la Guerre (1665–1729), François Couperin (1668–1733) and Jean-Philippe Rameau whose very first printed piece (1706) was in this form. The last unmeasured for date the The development of the prelude in 17th century Germany led to a sectional form similar to toccatas by Johann Jakob Froberger or Girolamo Frescobaldi. by northern German composers as Dieterich Buxtehude (c.1637–1707) and Bruhns combined sections free passages parts in strict writing (usually brief fugues). Outside Germany, Abraham van den Kerckhoven (c.1618–c.1701), one of the most important Dutch of the this model some his Southern and central did not follow the sectional model remained improvisational in character with little or no counterpoint. During second half of the 17th century, composers started pairing preludes (or sometimes toccatas) with in the same key; Johann Pachelbel (c.1653–1706) was one of the first to do so, Sebastian Bach's (1685–1750) "prelude fugue" pieces are more and today. organ preludes quite diverse, drawing on both southern and northern German influences. Most Bach's preludes were written in the theme and variation form, same motif with imitation, modulation, or retrograde the as as other techniques involved baroque Johann was of first German composers to the late 17th-century French style German harpsichord music, replacing
, were used as introductory movEments in haRpsicHorD suItEs. LoUis COuperin (c.1626–1661) was the FIrst Composer to embrace the geNre, anD hARpsiCHoRd preLudes weRE uSED unTiL tHe fIrST hAlf of The 18Th centuRy by numeroUs cOmPosers includINg jean-Henri d'angLebert (1629–1691), ÉlisabEth jacqueT dE la gUerre (1665–1729), fraNçois couperIN (1668–1733) and JeAn-PhilippE RAMeau (1683–1764), whOSe very fIRSt PrinTed piece (1706) was in this FOrM. the last unmeasuRed preLuDEs FOR haRpsIchord date FrOm the 1720S.

the deveLOpMENT of THe prelude in 17th Century GermANy lEd to a sEcTioNAl form SimilAr TO keYboard toccaTas bY Johann JaKob FroBErger or gIrolamo frescoBalDi. PReluDEs By NorThERn GERmAn cOMpoSers such As diEteriCh BuXTEHUde (c.1637–1707) And nikoLaus BRuhns (c.1665–1697) combineD seCtioNS of Free iMprovIsed PaSsageS with pArts iN sTrict contrapuntAl wrIting (usuaLly BrIef FuGues). OUTside GErmAny, abraham Van den KERckHoVEN (C.1618–c.1701), One of the most importAnT dUtCh composErs of tHE pErIOd, used thIs ModEl foR SOme of His pRElUdes. SoutHern anD CeNtRal GermAn ComposErS diD noT follOW the SectioNal model And thEIr preludes remaINed improvisatIOnAL In CHaraCteR with little Or no STricT couNTeRpoINt.

DurIng thE sECoND half of the 17th century, geRman coMposeRs started pairIng preludeS (OR SometimeS tocCAtAS) with fugues in tHe samE key; Johann pAchelbel (C.1653–1706) was oNe of the fIrst to do sO, ALthough JOhaNn SEbaStiAN baCh's (1685–1750) "prelude and FUGue" pIeCes are mUch More numEroUs aNd wEll-KnOwn today. BAch's orgaN pReLuDeS arE quitE Diverse, dRaWinG oN boTh souTHern anD nortHern geRmAN inFluenceS. moST Of BaCh'S pReluDes WeRe wriTten IN thE theme aNd variatiOn fORm, usInG tHe same tHeme motif with ImItation, invErSioN, modulATIon, or retRograde the theme as well as OTher tecHniQues iNvolVed in this BarOque foRm.

JOHann CaSpar FeRdinaNd fisCHEr was ONE oF thE fIrst German COMpoSers tO bRing The late 17Th-century French styLE to german harpsicHorD musIC, RePlaCInG The StANdaRD
, were used as introductor y movement s inhar psi ch ordsuit es. Louis Coup e rin(c.1626–1661) was thefirst  c o mpos e rto em brace t h eg e nre ,an d h ar p si chord  pr eludeswere usedunt il  the first h a lf  of the 18 thcentury by n ume rous c om pos e rs in clu dingJean-H e nri d' Anglebert  ( 1 629–16 9 1), Éli s a be th J acquet de la Guer r e( 1665–1729), Fr ançois  C o up e r in(16 68–1733) a nd  Jean - Philipp e  R a m e au( 1683–1764), w hose very f i rst  print ed  pi e ce (17 06) w as inthis form.Thelast unme asured prelude s  for ha rpsich ord  da te f r om  t he17 2 0s. 
T hed eve lopmentof  t he pr elud e i n  17t h c entu ry Ge rmany led toa s ecti o nal  form  simi larto  keyb oard t occat as  by Johann Jako b Fr oberger o r G ir ola mo  Fres c obaldi . P rel udes by  northe r n G er m a n  c omposers such as D ie t e ri ch Buxte hude ( c .1 63 7 –1707) a nd  Ni kola u s  Bruh ns ( c .1 665–1697 ) comb i ne dsection sof fre eimp rov isedp assa ges wi th parts  in s t rict contrapun t al writing (u s ua l l yb rief  fu gues). Outs ideG erma ny,A br aha m  vanden K er c kh o ven (c.1618–c.1701) ,one of  themost importan t Dutch co m p o sers ofthep er i od, used thismodel  for someo f his pr elude s. South ern and c e n tral Ger man  co mpo ser s di d not followt h e se ct ional m ode l and t hei r p rel ude sremainedimprovis at io na linchara c ter with  l itt le  or  no s t rict c ounte rpoi nt .Dur ing the se c o nd h al fof t he17 th ce ntur y , G erman c omposerssta r tedpa ir ing pre ludes (or som et imes tocca ta s)with f u g ues in t he same key; Johann Pac h elbel ( c.1 653–1 706)  was oneofthe fi rst to doso, al thoug hJoh a n n Seb a s ti anBa ch's (1685 – 1 750 ) "pr el udeand fug ue" pieces are muc h  mo re numerous a ndwell - k no wnt od a y.Ba c h's o rgan preludes a re quite d iv e rs e, drawing onbo th sout hern an d nor t hern Ge rman infl uences. M os t of B ach 's prelude s were w ritten in the t h em e and  va riatio nfor m, us ing th e  sa me th eme mo ti f with  imit at ion, inv ersion, modulation, orretrog radethe  theme as  we l l a s other t echn iques invo lve d i n thi s b a roque  for m .
Jo h ann C aspa r  Ferdinan d  F isc h e rwas one oft h e  fi rst G erm a n comp oser s to bring the la t e 17th-century  Fre n c h s tyl e  toGe rman harpsicho rdmu s i c, repla ci ng the stan dard
, were_used as_introductory movements in harpsichord_suites. Louis_Couperin_(c.1626–1661) was_the_first composer to_embrace the genre,_and harpsichord preludes were_used until the_first_half of the 18th century by numerous composers including Jean-Henri d'Anglebert (1629–1691), Élisabeth Jacquet_de_la Guerre_(1665–1729),_François_Couperin (1668–1733) and Jean-Philippe Rameau_(1683–1764), whose very first printed_piece (1706)_was in this form. The last unmeasured preludes_for_harpsichord date from_the 1720s.

The development of the prelude in 17th century_Germany led to a sectional form_similar to keyboard_toccatas_by_Johann Jakob Froberger or_Girolamo Frescobaldi. Preludes by northern German_composers such as Dieterich Buxtehude (c.1637–1707)_and Nikolaus Bruhns (c.1665–1697) combined sections of_free improvised passages with parts in_strict contrapuntal writing (usually brief_fugues). Outside_Germany, Abraham van den Kerckhoven_(c.1618–c.1701), one of_the most_important Dutch composers_of the period, used this model_for some of_his preludes. Southern and central German_composers_did not follow_the_sectional_model and_their preludes remained_improvisational_in character_with_little or no strict counterpoint.

During the_second_half of the 17th century, German composers_started pairing preludes (or_sometimes_toccatas) with fugues in_the same key; Johann Pachelbel_(c.1653–1706) was one of the first_to do_so, although_Johann Sebastian Bach's (1685–1750) "prelude and fugue" pieces are much more_numerous and well-known today. Bach's organ_preludes are quite diverse,_drawing on_both_southern and northern_German_influences. Most_of Bach's preludes were written in the_theme and_variation form, using the same theme_motif with imitation, inversion,_modulation,_or retrograde the theme as well_as other techniques involved in this_baroque form.

Johann Caspar Ferdinand Fischer_was_one_of the first German composers_to bring the late 17th-century French_style to German_harpsichord music, replacing the standard