As a preparatory exercise, Ravel had transcribed a "forlane" (an Italian folk dance) from the fourth suite of Couperin's "Concerts royaux", and this piece invokes Ravel's Forlane structurally. The other movements are similarly based on Baroque forms, with the Toccata taking the form of a "perpetuum mobile" reminiscent of Alessandro Scarlatti. Ravel also revives Baroque practices through his distinctive use of ornamentation and modal harmony. Neoclassicism also shines through with Ravel's pointedly twentieth-century chromatic melody and piquant harmonies, particularly in the dissonant Forlane.