Convention songs typically have contrasting homophonic and contrapuntal sections. The fugue is the most complex of contrapuntal forms. It consists of a slow prelude with dotted rhythms with a following fugue-like contrapuntal section. These included Rimsky-Korsakov's orchestral virtuosity, Tchaikovsky's lyricism and Taneyev's contrapuntal skill. Some fugues during the Baroque period were pieces designed to teach contrapuntal technique to students. Ami singing is known for its complex contrapuntal polyphony. The final measures of the movement recede to simple orchestral descending contrapuntal scales. Its prominent characteristics are the use of contrapuntal melodies and functional harmony patterns. Contrary motion is important to maintain the independence of the melodic movement in contrapuntal writing. The cantus firmus sometimes appeared simultaneously in other voices, using a variety of contrapuntal techniques. Son ensembles of this time added pianos to broaden their contrapuntal and harmonic vocabulary. Early Baroque organ music in Germany was highly contrapuntal. This type of polyphony is of the contrapuntal or horizontal type. His pianism had great clarity and erudition, particularly in contrapuntal passages, and extraordinary control. The second movement is an "allegro" in D minor in a contrapuntal trio sonata style.