SCARLATTI, Domenico
Sonata for solo keyboard in F minor K 466 L 118
Milana Chernyavska, guest professor
Alejandro Álvarez Pérez, student
For Professor Chernyavska, in this piece we have to differentiate between motifs that sing and motifs that speak, between long and short motifs. The long motifs can be made more expressive by thinking more about a single line, with direction. We can also create an expressive contrast if the first time we play more cantabile than in the repetitions. Also, the use of the pedal changes if we are playing something more expressive or a repetition of less importance.
The professor points out that it is necessary to sing horizontally to bring out the intermediate voice, to look for more surprise in some cadence rests, and to feel the wide intervals. The triplets must be well articulated and differentiated from the rest of the rhythm (2+1). In addition, it is important to have flexibility in the wrist for mordents and
Later on, the student tries to play sitting in a chair supported by the backrest to give more space to the body and control the sound more. Finally, Chernyavska indicates that there has to be more difference in dynamics between a forte and a piano and also a difference in touch.
Language: English
