The E-flat major and G minor fantasias are variations on the Italian "toccata di durezze e ligature" genre. Both are gentle free-flowing pieces featuring intricate passages in both hands with many accidentals, close to similar pieces by Girolamo Frescobaldi or Giovanni de Macque. Almost all pieces designated as preludes resemble Pachelbel's toccatas closely, since they too feature virtuosic passagework in one or both hands over sustained notes. However, most of the preludes are much shorter than the toccatas: the A minor prelude (pictured below) only has 9 bars, the G major piece has 10. The only exception is one of the two D minor pieces, which is very similar to Pachelbel's late simplistic toccatas, and considerably longer than any other prelude. The toccata idiom is completely absent, however, in the short Prelude in A minor:  A texture of similar density is also found in the ending of the shorter D minor piece, where three voices engage in imitative counterpoint. In pairs of preludes and fugues Pachelbel aimed to separate homophonic, improvisatory texture of the prelude from the strict counterpoint of the fugue. Around 20 dance suites transmitted in a 1683 manuscript (now destroyed) was previously attributed to Pachelbel, but today his authorship is questioned for all but three suites, numbers 29, 32 and 33B in the Seiffert edition. The pieces are clearly not without French influence (but not so much as Buxtehude's) and are comparable in terms of style and technique to Froberger's suites. Seventeen keys are used, including F-sharp minor. Number 29 has all four traditional movements, the other two authentic pieces only have three (no gigue), and the rest follow the classical model (Allemande, Courante, Sarabande, Gigue), sometimes updated with an extra movement (usually less developed), a more modern dance such as a gavotte or a ballet. All movements are in binary form, except for two arias. Pachelbel's chamber music is much less virtuosic than Biber's "Mystery Sonatas" or Buxtehude's Opus 1 and Opus 2 chamber sonatas. The famous Canon in D belongs to this genre, as it was originally scored for 3 violins and a basso continuo, and paired with a gigue in the same key.