BAROQUE  
1. Intabulations: It is also known as intavolaturas, are transcriptions or arrangements of polyphonic ensemble pieces on behalf of a keyboard instrument. The capacity on behalf of rendering polyphony on an instrument can long be perceived as a principal advantage of keyboard instruments. 
There are present in the earliest sources of keyboard music: Buxheim manuscript form the 15th century. In 16th century it gave rise to other important genres of keyboard music. It can be found in the 14th century, like it appeared on the Faenza manuscripts (written ca.1400 as well as it contains a 14th century repertory) is the largest: an estimated half of it consists of intabulations as well as some of music by important composers of the time (Francesco Landini as well as Guillaume de Machaut P). It continue to dominate the 15th century as well especially in the Buxheim manuscript ( ca.1470) The contents of which again comprise primarily intabulations of works by leading composers of the time like John Dunstable. However, it remains dominant to around 1600 as well as it dropped out of utilize at the end of that.   
2 . Toccata: This term refers to music that consists primarily of elements of figuration, which involves mostly scale passages as well as arpeggios, often with full chords as well as sudden as well as unexpected changes in harmony, tempo, as well as dynamics. The style seems based on improvisation, emphasizing figurative elements that are well adapted to the keyboard music; referred to as idiomatic, this way of writing exploits a particular instrument’s individual qualities.   
Examples of it can be found in the 16th century as evidenced by the intonazioni of Andrea Gabrieli (ca.1510-1586) as well as from England, by John Bull. Like the Prelude from Fitzwilliam Virginal Book – Excerpt. Also, the toccata continued to be as a predominant form of Italian keyboard music. Like in the first half of the 18th century we can find toccatas present in the Scarlatti’s music. In addition, the toccata style also appears in French preludes of the 17th century. Most of these carry on the old tradition without bringing in the elements added by the Italian composers of the latter part of the 16th century. In Louis Couperin on behalf of example, the prelude remained in a small form in a quasi-improvisational manner exhibiting great freedom of rhythm. But Couperin has all notes the same value, so that meter as well as rhythm are at the discretion of the player.   
3. Dance as well as Suite: The largest part of the repertory of early keyboard music is related to dance. But dance is not again emphasized in sources of keyboard music until the 16th century, where we find it particularly in German tabulates. From England, we find dances in the extensive repertory of virginal music, allemandes, correntes, jigs as well as branles. Other dances of 16th century include hornpipe as well as sarabande. In 17th century dance as well as dance-related forms, which in some cases are intabulations of lute pieces, dominate the repertory of French keyboard music. The 3 an estimated all important composers are Louis Couperin, Chambonnieres as well as d’Anglebert.  In the 15th century the practise was to have the slow as well as dignified bass danse followed by a quick dance in triple time as well as this custom of linking dances in pairs continued through the 16th century.
Most prominent dances are:
Allemande: moderate duple time
Courante: moderate triple time Sarabande: slow triple time
Gigue: fast compound time usually 6/8
The an estimated all important dances are the English suites, French suites as well as Partitas of Bach’s music.
 4. Dance suite: This form was used as a Harpsichord Suite or as an Orchestral Suite.  It consisted of four standard dances: allemande, courante, sarabande, as well as gigue. Various optional dances are sometimes added as well as an overture (prelude, sinfonia).   
CLASSICAL  
1. Sonata :  The definition of the sonata should be refined on behalf of each historical period. During the Classical era, it refers to an instrumental composition on behalf of pianoforte or on behalf of other solo instrument with pianoforte accompaniment which was intended on behalf of amateur music making. A sonata can range from 2 to 4 movements, each varying in key, mood, as well as tempo. Emanuel Bach composed sonatas in a three-movement format, fast-slow-fast, that was to become standard on behalf of the Classical sonata. However, Beethoven introduced the minuet (later scherzo), as third movement. The last movement of a 3- or 4-movement sonata is often in sonata or rondo form.