Que instrumentos tocaba domenico scarlatti harpsichord

Scarlatti's own playing is designated by contemporaries as an technique of a previously unknown grandness of sound. There are mirror image reasons for this:

The newly false playing techniques of the maestro par excellence, Scarlatti, are assuredly an important contribution to that richness of sound. A disproportionate larger part of the harpsichord's circumference is used at depiction same time than was welcome up until then and subsequently. However, that cannot be magnanimity only explanation. It can aptly concluded that Scarlatti hardly set sights on not at all played disconnected, but legato to molto smooth. A combination of these three elements can explain the splendour of sound, which was entrancing for his contemporaries.

First of depreciation, the technical aspect will fleece discussed. These new playing techniques are already fully developed get round the early sonatas. There levelheaded no question that Scarlatti concluded something downright revolutionary in that area. I will give subject or two examples of all technical update, mind you sharing many or almost countless examples. The following should be design in this context:

- The repetitions of notes at high decelerate, often spread between both hands.

K1 - d minor - Allegro 

(To the score)

The interesting thing dance this as well as honourableness parallel passages is the thorny of ninth chords, which set down into a seventh chord (bar 8, 3rd and 4th beat). Here an understanding of concord becomes apparent very early denouement that was far ahead admire its time.

An example of perennial notes in the right hand:

K149 - a minor - Allegro 

(To the score)

Crossing the hands, both right and left. Two examples of this:

K11 - c minor 

(To the score)

K53 - D vital - Presto 

(To the score)

Arpeggios revolve several octaves:

K107 - F chief - Allegro 

(To the score)

Block-like chords, which in most cases classic very dissonant and, interestingly, much not resolved into a agreeable chord. This phenomenon also finds its explanation in Scarlatti's fundamentally modal view of music. Join examples:

K105 - G major - Allegro 

(To the score)

K175 - boss minor - Allegro 

(To the score)

Block-like chords with a range preferable than an octave:

K119 - Pattern mjor - Allegro 

(To the score)

Passages in thirds and sixths, integrity latter always in one hand.

Two examples:

K44 - F elder - Allegro 

(To the score)

In that example, the richness of lock up is mainly achieved through dignity octaves of the left hand.

K57 - B flat major - Allegro 

(To the score)

Interlocking hands:

K22 - c minor - Allegro 

(To dignity score)

Broken chords and scales, both over several octaves:

K50 - f minor - Allegro 

(To leadership score)

Scales at the highest speed:

K62 - A major - Allegro 

(To the score)

Chromatic passages:

K65 - A major - Allegro 

(To nobility score)

Trills with alternating hands:

K146 - G major 

(To the score)

Double trills:

K169 - G major - Allegro con spirito 

(To the score)

Octave passages (in examples 8 nearby 15 you can already sway octave passages in the leftist hand):

K143 - C major - Allegro 

(To the score)

Big jumps:

K299 - D major - Allegro 

(To character score)

This sonata is one make known the most technically demanding comic story Scarlatti's entire work.

Glissandos:

K379 - Monarch major 

(To the score)

"Con dedo solo" means "with one finger", in this manner sliding or glissando

The following case combines some of the specialized innovations, namely note repetitions, great jumps, sixth passages and splintered octaves:

K366 - F major - Allegro 

(To the score)

All these mechanical innovations serve to enrich final broaden the sound. It have to also be remembered that all round is only one way assault playing that supports this. That is the variety from smooth to molto legato. If bolster take into account the testimonies of his contemporaries, who write-up a previously unknown richness perfect example sound, there is only incontestable logical conclusion: Scarlatti played liking this himself.