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1) How did Scarlatti reach the dominant in the first half of the piece? ...
b) How did Scarlatti use rhythmic motivic content to propel the music on through a coda in each half
The same motive closes each reprise in the codas. ...
7) How does the form of this sonata compare with the apparent form of two or three other sonatas written about the same time or appearing in the same manuscript by Scarlatti?
K.381 is very similar to K.380, both in its overall form and in its modulations. ... Interestingly, K.381 features a quick modulation to the parallel minor in the second half of both reprises, setting it a little apart from the previous sonata. The most telling similarity is that, in each sonata, the second half of each reprise is the same, only that the first ends in the key of the dominant and the second ends in the key of the original tonic. ... Thus, K. ...
K.379 has a similar form and harmonic structure to K.380, but not quite as similar as K381. This piece begins in F major, and like K.380 modulates to the key of the dominant (C major), where it ends reprise 1. ... What distinguishes this sonata is the second reprise, which opens with an abrupt modulation back to FM, followed by sequential changes in key areas (like K.380 and K. ... Another contrast with the following sonatas is that the second half of reprise 2 in this sonata is not an exact transposed carbon copy of the second half of reprise 1. ...
Overall, the rhythmic motives in K.380 really give the piece a lot of personality are much stronger than those of the other two sonatas.
Approximate Word count = 1548
Approximate Pages = 6.2
(250 words per page double spaced)
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