In Sweelinck's chorale partitas, which style was applied to voice?

• A. Fugue style
• B. Toccata style
• C. Ritornello style
• D. Strophic aria style

Answer: (B)

The voice is treated in a toccata style. In Sweelinck’s chorale partitas, the chorale tune is kept clear, usually as the top line, while the accompanying lines burst with virtuosic, toccata-like figurations—rapid runs, scales, and expressive embellishments. This improvisatory, free-flowing character characterizes the toccata approach and sets it apart from a strict fugue, which would center on imitative development of a subject, or from ritornello form, which alternates returning refrains, or from a strophic aria style, which suits vocal repetition. So the voice portion shows a bold, keyboard-virtuoso treatment consistent with toccata style.