{"id":48355,"date":"2025-10-17T14:31:42","date_gmt":"2025-10-17T12:31:42","guid":{"rendered":"https:\/\/www.escuelasuperiordemusicareinasofia.es\/canal-escuela\/milana-chernyavska-scarlatti-keyboard-sonata-k-466-l-118\/"},"modified":"2025-10-17T14:31:42","modified_gmt":"2025-10-17T12:31:42","slug":"milana-chernyavska-scarlatti-keyboard-sonata-k-466-l-118","status":"publish","type":"video","link":"https:\/\/www.escuelasuperiordemusicareinasofia.es\/en\/canal-escuela\/milana-chernyavska-scarlatti-keyboard-sonata-k-466-l-118\/","title":{"rendered":"Milana Chernyavska: Scarlatti &#8211; Keyboard sonata K 466 L 118"},"content":{"rendered":"<p><strong>SCARLATTI, Domenico<\/strong><\/p>\n<p>Sonata for solo keyboard in F minor K 466 L 118<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Milana Chernyavska<\/strong>, guest professor<\/p>\n<p><strong>Alejandro \u00c1lvarez P\u00e9rez<\/strong>, student<\/p>\n<p>&nbsp;<\/p>\n<p>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 <em>cantabile<\/em> than in the repetitions. Also, the use of the pedal changes if we are playing something more expressive or a repetition of less importance.<br \/>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 <g id=\"gid_1\">legato<\/g>.<br \/>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 <em>forte<\/em> and a <em>piano<\/em> and also a difference in touch.      <\/p>\n<p><em>Language: English<\/em><\/p>\n","protected":false},"featured_media":0,"template":"","meta":{"_acf_changed":false},"ciclo":[160],"curso":[859],"instrumento":[172],"obra":[1104],"profesor":[],"class_list":["post-48355","video","type-video","status-publish","hentry","ciclo-lecciones-magistrales","curso-2020-21","instrumento-piano","obra-sonata-para-teclado-solo-en-fa-menor-k-466-l-118"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Milana Chernyavska: Scarlatti - Keyboard sonata K 466 L 118 - Escuela Superior de M\u00fasica Reina Sof\u00eda<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.escuelasuperiordemusicareinasofia.es\/en\/canal-escuela\/milana-chernyavska-scarlatti-keyboard-sonata-k-466-l-118\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Milana Chernyavska: Scarlatti - Keyboard sonata K 466 L 118 - Escuela Superior de M\u00fasica Reina Sof\u00eda\" \/>\n<meta property=\"og:description\" content=\"SCARLATTI, Domenico Sonata for solo keyboard in F minor K 466 L 118 &nbsp; Milana Chernyavska, guest professor Alejandro \u00c1lvarez P\u00e9rez, student &nbsp; For Professor Chernyavska, in this piece we have to differentiate between motifs that sing and motifs that speak, between long and short motifs. 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