A similar arrangement is the ritornello form of the Baroque concerto grosso. A reprise of the orchestral "ritornello" ends the aria. Sometimes, this form also featured a ritornello, which was occasionally also in a canonic style. The vast movement has aspects of both a fugue and a ritornello movement. It is formally a da capo aria introduced by an eighteen-measure ritornello. The responses from the concertino trio are derived from the opening ritornello. It can also be found before a final coda or ritornello. A Baroque predecessor to the rondo was the ritornello. They are all written in trio sonata form with binary and ritornello movements. In his opera "Teodora" (1697) he originated the use of the orchestral "ritornello". The "nightingale" effects are replaced by reprises of the ritornello and the modified cuckoo. The movement concludes with a complete reprise of the opening ritornello. The orchestra then played a second ritornello usually shorter than the first. The opening movement is in ritornello form. This rhythm is repeated in the first eight bars of the ritornello.