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The other keyboard works by Kuhnau show a varied approach to form. The two parts of his Clavier-Übung include 7 suites each. The first is only in the major mode, and the second is only in the minor mode. The suites almost always begin with a prelude, and continue through the usual order of dances – allemande, courante, sarabande, gigue – occasionally with a minuet or aria placed between the dances. Kuhnau's preludes are almost always in two sections: a prelude and a fugue (or a fugato section), complete with countersubjects Kuhnau mentions in the preface.[2] Kuhnau's Sonata in B-flat major, appended to the Neuer Clavier-Übung, anderer Theil, was for some time considered to be the earliest known keyboard sonata. Later research has shown that it was rather the first keyboard sonata published in Germany and that Kuhnau simply followed the naming convention established by contemporary foreign composers.[5] The composer himself commented on the issue in the preface: I have also appended a Sonata in B-flat major, which should also be pleasing to the amateurs. Why shouldn't one provide such pieces for keyboard which are provided for other instruments? Indeed, no instrument has been able to dispute the clavier's reputation for perfection.[6] The third volume, titled Frische Clavier Früchte, contains six sonatas modelled on Italian chamber sonatas. According to music authors Milton Cross and David Ewen, the work's publication is an "important event in musical history" since it is one of the earliest serious attempts at composing works for keyboard instruments besides the organ.[7] A wide variety of forms and textures is employed: even the opening movements range from toccata-like miniatures to full-fledged chaconnes. Kuhnau's approach to the episodes of the many fugues of this collection has been called "perhaps his primary contribution to the historical development of fugue as an extended form" by one scholar.[8] Frische Clavier Früchte was Kuhnau's most popular work in his lifetime, reprinted five times (including one posthumous publication).[9] Much of Kuhnau's vocal music is lost, including an opera (Orpheus), a setting of the Passion according to St. Mark (Markus-Passion), a three-choir Te Deum, and at least two settings of the mass. The surviving cantatas