Review of 555 Scarlatti Sonatas!

28 Hour Harpsichord Concert

196 views

in 1707 "My eternal source and preserveScarlatti was only 22 years old when she wrote the letter, which began with the sentence "I bow at the feet of His Majesty, the end of which is my god...". The letter, describing her and her family's pitiful condition, was politely answered by her boss, Prince Ferdinando, and given to Scarlatti the gold he needed.

His whole life was spent serving the royal families. He had to constantly produce and he succeeded. He composed 555 keyboard sonatas. Each pianist made an album with his own selection. When the number was too high, the albums were divided into series. It was almost impossible for the listener to choose. 

I don't think any review in the world contains such a comprehensive corpus of keyboard sonatas. I had to listen to a certain number of works a day in order not to cause ear fatigue. I noted boring, monotonous repetitions as well as distinguishing great melodies. 

It is out of question to be objective, as it is a work review, not an album. I would like to remind you that I interpret the emotions and characters that all sonatas create in me. It is possible that the piece, which is a meaningless repetition for me, is exciting for another ear. 

It is not Mozart's fault that a classical music lover, who can distinguish Mozart's last seven Piano Concertos as soon as they listen, has never listened to his first ten concertos. The culture industry sacrifices Mozart – or other composers – under the category protocol of “First Period” or “Last Period” compositions.

It is not known whether Scarlatti's 555 keyboard sonata is worth the effort, but someone must have reviewed 555 works in order to identify a handful of works in today's albums.

I hope it will be a useful review for the readers on this road that consumes time and patience.

BIS Selection: F 52, 83,197, 202, 319, 322, 466, 481 and 513.

Undiscovered Beauties: K 144, 174, 193, 347, 362, 381, 419, 490 and 517.

As Piano Exercise: K 71, 83, 117, 164, 192, 308, 375, 389 and 514.

Time Wasters: K 189, 279, 291, 297 , 337, 351, 506 and more.


K.1

This first sonata, which has a structure based on trills, resembles a short story on simple motifs that does not tire the listener. The performance of the piece, which consists of two parts and one repetition, with Allegro tempo is important because as the tempo accelerates, the elegance of the trills is lost. You can involuntarily repeat the notes that make up the melody at the end of the piece: Do-La-La!

K.2

It is not possible to come across a melodic structure in works where two hands approach each other. The work as a whole proceeds like an etude. Presto seems to want to help the performer to open his fingers rather than melodic concerns with tempo.

K.3

The whole piece, which consists of 4/4 beat time, consists of quatrain (1 beat) notes and its tempo is Presto. The chromatic descents that disturb the ear at the entrances of both sections are like 'pretty' gifts embroidered into the whole building dating back to the classical period. Somewhere in the middle the listener seems to hear the young Beethoven. is happening.

K.4

At the end of the first part and in the middle of the second part, the distinctive beats resembling a church bell are reminiscent of noble commas composed against the touchless sounds of the harpsichord. The tempo of this work, which reflects the baroque period and its spirit as a whole and does not have an extraordinary melody or fiction, is Allegro.

K.5

The introduction of this piece, which we return to ornaments and trills, and which contains lots of hexadecimal notes, reminds us of Haydn sonatas, but the octave runs written in the following are proof that Scarlatti did not go beyond his 'exercise' purpose. The trill, which starts in the 17th measure, makes the listener feel 'it's over now'.

K.6

With an elegant opening, we find ourselves in the middle of a dance held in the palace. The decorations are not scratchy according to their place. We hear the chromatic runs, which have become a passion for Scarlatti, at the end of the episode, but the melodic sentences that we have forgotten due to their structure welcome us in this piece.

K.7

The introduction of the 3/8-time piece is waltz-like and continues with the first signs of Scarlatti's maturing sonata structure. The two-part piece is twice as long as the previous ones, contains three and four-voice chords, and there are no chromatic runs that we are used to at the end of the chapters, surprising! Bass writing in sizes 53-72 reminds Dussek.

K.8

Notes connected by 3/4 time and sadness. Despite its pace, Allegro is an adventure that progresses in a way that will not put pianists in a difficult situation who want to enjoy the scenery instead of hurrying. At the end of the first part, it shows that we have reached the goal with two ornamental notes extending to the deep bass. In the second part, we listen to different constructions of the same motif, whereas one expects a surprising result in the continuation of the mystery created in the first part.

K.9

Our explorations with K.7 and K.8 end here and we return to the palace. The chromatic runs were written for a whole meaning this time, and the baroque period is back. Almost everywhere is full of parallel triples. The second part is reminiscent of Bach's French Suites, but the overwritten trills and the baroque swoon insist on haunting the audience. We seem to hear something nice and different.

K.10

The rapid steps heard from the 22nd measure of the work present the skeleton of K.517. I'm undecided if it offers something different. Familiar finger acrobat.

K.11

While the Allegro – Moderato debate lasts, for my ears, Moderato tempo accentuates the elegance of the piece. Yes, there are no great melodic ideas or surprising phrases, you think we're rid of trills, but they just pop up. For some reason, this work is like the rest of a great idea that was not fully expressed.

K.12

A different melodic structure is constructed with ties and unexpected hexadecimal notes. Despite the beautiful entrance, unnecessary decorations hide the melody. Phrases reminiscent of Bach's inventions are often heard. There are surprise beauties in the second part, it makes you listen to the piece until the end.

K.13

It resembles the chase of two naughty children, but it is also reminded that they ran inside the palace. The miniature work created with trills of high difficulty in the last section is a candidate to be watched – that is, to be listened to.

K.14

Presto tempo, hexadecimal notes… You suddenly find yourself in a chase. It is difficult to understand what is tried to be expressed with the octave of La, which repeats itself in the 13,14th, 15th and XNUMXth measures, because it gives the feeling of a mischievous child coming next to Scarlatti and pressing random keys while the piece is being performed.

K.15

I had a hard time attaching a meaning to the work. It may have been composed almost entirely for exercise purposes.

K.16

i of the piece composed with 4/4 time signatureThe single-beat (quatrain) notes heard after the 35th measure in the first part form a beautiful scale that does not tire the ears. The structure of the second part includes what was lacking in the first part and what needs to be done in the name of music.

K.17

The depth of Scarlatti missed with the 32nd measure begins to be heard… A wonderful melody. But take your time, because the chromatic runs that follow bring us back to where we started. The long, repetitive second segment offers the patient ears unexpectedly deep, but rather short-lived, melodies.

K.18

If we talk about the Baroque period, Presto tempo does not promise much. Yes, it's a neat sonata, but it doesn't have a catchy motif. Ideal for long and right-handed use.

K.19

Since the ear can easily distinguish between allegro and its intersection tempos, it should be saturated with melody. This piece almost achieves that. It is a sonata that manages to keep the listener in until the end, even though the motifs that show continuity change hands. It is not right to expect more.

K.20

The sonata, which reduces expectations with Trill syndrome, suddenly becomes Beyer's piano method between measures 41-47. The second part, which starts with three- and four-voice chords, gives us a stance, and what we hear next sounds good. The embellishments in sizes 79-87 don't look too much, they're almost gorgeous. The finale, unfortunately, is in the mood of the piano method again.

K.21

We hear two different motifs that are independent of each other. It is a little difficult to make the story whole. The pianist may become interesting with his original interpretation, although it was not written. It can be used to create a causal bond between motifs, especially if it is not – even if it is not – to be applied in certain dimensions.

K.22

Patient listeners of a dramatic opening will be frustrated as time progresses to return to where they started. A work could not promise something so beautiful.

K.23

We're looking at a sheet of music with hexadecimal notes crowding out. Bass motifs in certain sizes can attract attention. And then? Keep running.

K.24

A very difficult and technically demanding exercise!

K.25

It was a relief to return to Allegro after Presto tempo and to hear the measures trying to say something. This is our first encounter with F sharp minor tonality, but Scarlatti finesse is sprinkled in various measures. It is a work that is far from the exercise order, has sentences and meaningful decorations. At least, it is pleasing to have returned to the sonata structure.

K.26

The octave-supported presentation in the left hand reminds the listener of the Kuhlau or Clementi sonatas. The sections that are very similar to each other do not arouse curiosity and do not reach a conclusion.

K.27

Another piece freed from the Presto tempo curse! It is remarkable that the sonata, in which simple and soothing motifs are presented, has a conclusion close to the conclusion with its introduction. There is anguish.

K.28

Presto and Scarlatti runs we now know. There is nothing presented to the listener in the melodic structure of the piece.

K.29

16-20. Another of Scarlatti's unique finger exercises, apart from a beautiful melodic structure that surprises between measures. For those who love running.

K.30

The sonata composed in Moderato tempo is in fugue structure. It is 152 measures long without repeats. There is no clear melody structure, but the subtleties of fugue art are present enough.

K.31

Arpeggios from bass to treble and separate tempo marking for each partThe first sonata we encountered. Apart from these, it does not have the feature to remind itself.

K.32

A short but relaxing Arya consisting of a single episode and a repetition of two themes.

K.33

The piece, which has a meaningless motif up to the 17th measure, turns into 18/3 time from the 8th measure, the double sound captured with the unbound hexadecimal notes written on the bass line is quite original. Towards the end of the piece, the three- and four-voice chords written in the bass are remarkable. Apart from that, we listen to variations of the same melody.

K.34

The work, which opens with an introduction reminiscent of Bach's Preludes, is the first Larghetto among keyboard sonatas. work with tempo. It can be a good practice for amateur pianists in terms of tempo and note writing.

K.35

MThe notation of this piece, in which the elode transitions between the hands, and which rests in the background when performed a little faster than the Allegro tempo, is also simple and masterful, with a fluent yet deep melody.

K.36

Allegro ups and downs, typical study writing. It is one of the planned production works that does not have a different discourse to present to the audience.

K.37

Arpeggios ranging from bass to treble greet us in this piece as well. hand-to-hand after measure 11 When hexadecimals are written as triads and quintets, it creates a tone reminiscent of Mozart sonatas. The second part needs a new melody and a different Largo at the beginning of the chapters, followed by the introduction of Allegro with a short break.

K.38

There are speed trials that do not add meaning to the whole with thirty-two notes. It is as if the piece was composed with the aim of having thirty-two notes in it, it does not have a feeling or a character it has.

K.39

A running exercise consisting of presto tempo and hexadecimal notes.

K.40

A short menuet.

K.41

The piece opens with an elegant presentation prepared with two two-beat notes that I suggested for K.37. A fine walking accompaniment at Andante pace. 'Autumn' would have been appropriate if it had to be named. I wish the second episode could offer a different melody.

K.42

A short menu more. A suitable exercise for amateur pianists.

K.43

We start with a beautiful dance melody. At the end of the first section, the work gains depth with a different motif. The second part consists of routine repetition.

K.44

The sonata, which started with an alluring grace, gained emotional intensity with the left hand chords. The distinctive motif presented in the second part earns Scarlatti a huge star for avoiding the curse of baroque ornamentation.

K.45

A new exercise or a fickle tune? The double voices heard in between are drowned in chromatic runs. It is not possible to talk about a writing that makes a difference.

K.46

Presto is quite a challenging piece for tempo. Maybe Allegro can be performed in tempo, and beauty swallowed with Presto can emerge.

K.47

The long dance of dichotomous chords is soothing, but the melodic structure is far from promising. A sonata with a fun character.

K.48

If you don't like trilogy, this sonata is not for you. A never ending run…

K.49

All known writing techniques and notation are available. Rhymes, scales, chromatic runs, connected and unbound chords… The only thing forgotten was the melody/motif.

K.50

It is clear that there is no problem in filling the sonatas as the duration of the sonatas gets longer, but there is an insistence on the works that will remain in mind, far from the melodies or variations that will take the listener, and that strictly follow the spelling rules of the period. A confusion of emotions. Oddly enough, we seem to hear Chopin Mazurkas to a certain extent.

K.51

Arpeggios, connected octals, and right-handed hexadecimal ups and downs…

K.52

Sonata in the first romantic character I have come across. A spelling compatible with Andante tempo. A nice bis option with the dynamics that the performer will interpret.

K.53

We are alone with Presto tempo, which is indispensable for Scarlatti but caused me to give up the piece immediately. In the middle of the first part, the two-beat accents on the bass paint an ambiguous picture for the running right hand… In the still waters, every listener is free to experience their own fragrance.

K.54

The work, which has a certain expression, remains faithful to the subject without being differentiated as a whole. Scarlatti is still a little timid about melodic variations

K.55

Energetic notation in 3/8 tense, three connected eights that change hands. No statement of opinion.

K.56

A magnificent entrance. Then you disappear again and again.

K.57

Accompaniment basses (Alberti) are used frequently, we seem to hear Mozart's sonata tempos. Parallel triads appear, time is used with connected notes. It's hard to talk about a good-sounding motif.

K.58

The fugue-themed work has an unpredictable mood. Octaves written in bass spoil the delicacy.

K.59

I recommend listening to the harpsichord. In the first part, there is a small and soothing melody. The second part continues on the same melody, but with a lost allure. Except for the ups and downs of the eighth group notes, there is no different spelling.

K.60

It was as if this piece should have been the second part of K.59. It progresses with more beautiful variations and notation. The fact that no tempo has been determined for the piece widens the range of interpretation. Dance of two, four and six connected notes.

K.61

After a simple but promising start, the main character is heard with 4 connected hexadecimal articulations on the right hand. It's a pretty good concert. Towards the end of the work, thirty-two-year-olds take a comfortable journey out of the asphalt.

K.62

The melody continues with connected octals, while the accompaniment continues with double tones. The number of trills is so high that we can call this piece the "Trill Sonata".

K.63

A boring “Capriccio”

K.64

It is not attractive that trills form the main motif of the piece, which proceeds with connected eights, in which five-voice chords are tested.

K.65

We start with hex note ups and downs in the left (bass) and right (melody) hands. In the second part, the hexadecimal dichotomous chords and bass accents are disturbing to your ears. Another sonata that has nothing to offer.

K.66

Although hopes bloom with hexadecimal parallel double voices written in the right hand, the stereotypical baroque sonata structure, which has turned into an Istanbul neighborhood with ups and downs, is a sufficient reason to shelve this work.

K.67

Written in F-sharp minor tonality, the piece has a structure reminiscent of Clementi's sonatas, but it does not remind anything about melody.

K.68

The contrast created by the trills between sizes 21-27 could have been enhanced with a different spelling. A wasted melody.

K.69

It can be listened to on the piano instead of the harpsichord. The fugue structure produced by unbound writing is one of the rare works in which the sounds are masterfully placed. Fourth and eighth note writing takes your breath away amid the tiring rush. The only flaw is the length.

K.70

Exercise for a young prince or princess. The quatrain written in the 9th, 10th and 11th measures proves that it is not the product of great ideals with the unbound C.

K.71

A sonata that should be in the archives of all pianists as an exercise.

K.72

Having to develop an unnecessary melody… try Scarlatti.

K.73

A familiar opening with three intermittent sounds. The middle menuet section, which transitions from 3/4 to 3/8, is pleasant and calm. The minuet written in the last part is different from the middle part? Thank you Scarlatti.

K.74

Trills are written in a little more cute places. Continue uphill and down to the baroque sonata form. It doesn't promise anything.

K.75

Without the repetition of the same melody throughout the 14 measures, anyone looking at my writing would swear that Chopin mazurkas are the "B" part. What we need is a melody, not bound octets!

K.76

A polyphonic flow with an average of 12 notes per measure. Thirty-two scale descents written at the end of the chapters became meaningless when combined with Presto tempo.

K.77

Menuet love with Moderato e cantabile. Great opening, elegant and simple writing. A beautiful story is heard. Menuet surprises by breaking the expected lightness and reminds the story told in the first part with an enthusiastic language. It should rest, because that should be the real baroque.

K.78

Classical period Rondo with three connected octals. The menuet written in the closing section tastes like a lullaby.

K.79

Scarlatti is very good at creating sensations of excitement and joy, but sees a catchy melody a lot. Boring.

K.80

A minuet for Chopin's strange Mazurka Op.68/2.

K.81

A masterful spelling for the Grave tempo, the melody floats. The wind begins to blow in the Allegro parts of the 190-measure sonata. We return to Grave tempo again and find ourselves in a beautiful song. There is no connection between the sections, they almost seem to belong to different sonatas.

K.82

It is a piece caught in the middle of the storm with the waves created by the six eighth notes connected in the bass and the parallel double sound outputs in the right hand.

K.83

You may think that it is a piano exercise suitable for 0-6 years old by looking at the note writing in the first part, but the contrast between the sounds is very nice. Another nice piece of cake.

K.84

Trying to create a melody with the sextets, the opening may seem like an unsuccessful delusion, but 43-51. The melody written between the measures is wonderful. There is no original structure other than this emotional motif.

K.85

Race of hexadecimal notes.

K.86

It's an elegant and sweet melody, but does it have to last 81 meters?

K.87

A beautiful fugue structure suitable for romantic performance. He's resting.

K.88

The work, which consists of Grave - Andante - Allegro sections, is 325 metrics. They have adaptations for chamber music (Piano trio) and it's beautiful. Keyboard is too long for solo.

K.89

Adaptations can be listened to just like K.88. My preference is the mandolin – cello duo.

K.90

Another relaxing sonata with a Grave beginning. Scarlatti, which is expected to produce products in terms of melodies, has not come to the fore yet. Sonata structure is developing and works are getting longer.

K.91

After a good-sounding Grave, we listen to a weak Allegro episode.

K.92

A sad opening and quiet little steps. No game-breaking Allegro or any other tempo. A piece that makes you listen to the end.

K.93

The little melody heard in between also has to escape the headaches of three, four, and five chords.

K.94

A short and relaxing minuet.

K.95

Three octal rhymes written in bass.

K.96

We came to the first of his famous sonatas. Our energy is restored when a great idea comes up at the opening. The presentation time of six repetitive Hex notes is so accurate that it restrains excitement rather than headache. Although the last 30 meters are composed of chords written in different vocal intervals, it makes it undecided to listen to the piece for the second time, but as a whole, it is one of the works that gave Scarlatti a huge star.

K.97

It is decorated with motifs with beautiful stories. Baroque joy.

K.98

The opening reminded me of the Chopin waltz. Even though the Hexadecimal notation run that starts after the comma makes me go back to the period it belongs to, there are short motifs in the background that make the work dynamic. The development of the main theme in the second part is far from exaggeration and aesthetic. It can be heard.

K.99

Karasoz reflects a mood. Hexadecimal notation tells us to move forward without much thought. There is sadness in his tone. It's not without a side that traps the listener until the end.

K.100

The performance of the work written in 12/8 tense should be preferred. It needs different nuances, forte or piano transitions.

K.101

My tolerance limit for baroque music is up to hexadecimal notes… the thirty-two dips make me think that the keyboard is composed for a show, not music. The melodies heard while breathing between runs can be a little magical, earning points for your patience. Especially the motifs heard at the closing reveal the original ideas that do not belong to the whole.

K.102

A different choreography. Melodic dissonance.

K.103

Decorations reminiscent of K.96 are not enough to carry the work to a different level from where it was found. It is a repetition of a light, noble melody.

K.104

A joyful start, but the remarkable beautiful melodies begin after the 26th measure. Unbound Hexadecimal notes are written with the air of a child running up the stairs. There are multiple motifs and they are all original and delightful sonatas.

K.105

A hesitant melody is repetitive even though it seems embellished with different variations. Ideas that don't fit well, parts that look like adding and removing different works.

K.106

An original opening, the ups and downs of three connected eights. Single-written quatrains added mise-en-scène to the work. It is a concert that does not require great decorations and technical competence.

K.107

Their descent from four-tone chords to doubles is a jumble, followed by a thirty-two rush in the right hand. But the secondary variation of the first section motif gives flavor.

K.108

Now quartets, quintets and octaves, reminiscent of Schubert's military anthem.

K.109

A baroque Adagio that will be as enjoyable to play as it is to listen to.

K.110

The fact that the hexadecimal notes written in parallel form the main structure takes that piece out of the listenable category. Although the motif written in the second part sounds good, it is tiring as a whole.

K.111

The dance of three connected eights. It is interesting that he carries the melody to the left hand and tries to accompany it with four or more voice chords in the right hand.

K.112

Calm shores, a light sonata but soon becomes familiar.

K.113

A gripping piece of work, the audience does not outpace the pace. In every corner, a melodic element makes you listen. Simple bass writing and masterful use of connected stanzas.

K.114

A Presto you are asked to steal that will give your soul. There are beautiful motifs in the second part. The combination of speed and melodic structure is compelling.

K.115

The elegance of the Baroque period is embroidered. It has interesting tremulo writing between 47-56 dimensions. Beethoven's ferocity is palpable.

K.116

Another elegant baroque sonata. Scarlatti has crafted her melodic web very well. I recommend listening to the performers who do not overdo the tempo.

K.117

A sonata that consists of 162 measures for piano learners and becomes technically difficult towards the end of the piece. It is a work that teachers should add to their repertoire instead of exercises consisting of routine repetitions.

K.118

The harmonic basses written in measures 12-18 show the composer's mastery of the subject, and the right hand melody makes it listen to itself even though it is routine. The new theme introduced after the 37th measure is quite emotional.

K.119

It is a candidate for a series of melodic anthems with polyphonic chords and octaves written on the empty spaces.

K.120

When you look at the notes you will see that there is a little bit of everything. Suitable for technical demonstration.

K.121

A baroque product with a lot to talk about but limited to offer. Trill oasis.

K.122

Although the ideas are beautiful, the work can be boring. It can be said that three connected octets and 3-4 vowel chords written on the bass pave the way for this situation.

K.123

Great song and simple writing in measures 60-76 must be heard once. Overall, it's an ordinary piece of work.

K.124

A repetition embellishment. It is a work that lost an audience in a short time.

K.125

Another one of those running races with nothing.

K.126

A dynamic structure far from ostentatious. The opening trills sound good. The second part of the piece, which continues with chromatic scales extending between two keys, consists of repetitions.

K.127

It tastes like a nice minuet with classical period tones. It is mind-blowing that the 48th, 49th and 50th measures are decorated with the same and Hexadecimal notes. In the second part we hear about simple octaves and Hexadecimal runners.

K.128

I love the opening melody. Baroque period is on the air from the 9th measure. Too long for a piece of work that has no ideas to offer.

K.129

Isn't that the melody of the final part of Chopin's 3rd Piano Sonata?

K.130

It's a light dance.

K.131

A music that pauses too much for my liking. The constantly changing motif and note times compel the performer. The fluent sonata element has remained in the version with notation.

K.132

The endings of the chapters are as bright as the sonatas of the romantic period, but the whole is filled with suffocating trills and decorations.

K.133

K.132 with added romance. It's like a romantic anthem with octaves.

K.134

Finger exercise for those who miss the ups and downs.

K.135

Presenting an ordinary motif that does not suit Scarlatti.

K.136

Presenting an ordinary motif that does not suit Scarlatti. All familiar runs and decorations.

K.137

It is based on a sympathetic and exciting motif. It manages to hold the listener to the end with its in-depth transfers.

K.138

It's a weak intro, but the melody presented as of measure 13 is very original. The rest is just an evaluation of what you have.

K.139

The use of decorations is wise. Bass writing that tries to process the excitement with a melody that is not new to Scarlatti.

K.140

Thoughtful acrobatics not written for the sake of writing attract attention. There are motifs skillfully placed in a fast tempo.

K.141

Another famous sonata. The piece will sound familiar when you hear the repeating Hexadecimal notes. In my opinion, it is nothing but a tiring finger exercise.

K.142

A simple and beautiful dance motif presentation tries to find its way through the rest of the work.

K.143

The sonata, which seems to have been written to the order of a trill-loving art lover, has nothing new to present to the audience.

K.144

It is an integral part of a good concert program. A relaxing melody, non-repetitive phrases and the expected work from Scarlatti.

K.145

Revolt of sixteen and thirty-two notes.

K.146

It is a striking spelling with two tied thirty-two notes, there is no original motif in general.

K.147

An emotional contrast that sounds beyond its time. Listener friendly with its calm pace. It just stretches the story and tells it.

K.148

Our joy of Andante tempo stays in our crop. Unconscious and aimless simplicity is not appreciated by me.

K.149

Staccato's spelling is delightful and understated in the opening of the work. It is a pity that the short and two-part work does not have an original melody.

K.150

Unstable and disorganized.

K.151

What can be offered with three connected octals is rather limited, when your period is baroque. The melody is missing.

K.152

You have to imagine a melody. Not in the work.

K.153

The decorations are endless.

K.154

A leisurely country stroll, plain notation. Mediocre.

K.155

It is thought that an important point will be reached with the chromatic scale outputs, however, this work, like the others, is a contract production for the palace.

K.156

It is decorated with motifs that can be considered successful for C major tonality. Two reps and forty measures.

K.157

It is not possible to create melodic fiction with three octals tied on both hands, and the proof is this sonata. Not bad, but mediocre for the 157th sonata you composed.

K.158

When Andante tempo is performed with the piano, it leaves ample room for interpretation. This work also has a structure that needs interpretation, in the right hands it is relaxing. The structure of the motif, which shifts from the emotional to the unknown, makes it difficult to focus.

K.159

An opening where we hear that famous Scarlatti tune again. The way the same motif is used in the second part is unique. All in all, a beautiful sonata.

K.160

Scarlatti can sometimes make me forget the whole and write praise with two unexpected measures. The short but meaningful comma motif, which starts with the fermata (sus) written in the 16th measure, is wonderful. The mode of the piece is variable and appeals to those who like melodic variations.

K.161

Finger exercise with hexadecimal notes.

K.162

An Andante with an elegant character… However, Hexadecimals spoiled the game a bit.

K.163

It lacks motifs to support light bass typing. It's a nude piece.

K.164

A great Andante for piano lessons, it has a flow where the student will not get lost with its plain notation and understandable motifs.

K.165

We continue with the Andante series. A graceful first episode concludes with a second, where the pace picks up a bit. There is a story heard in the second part, it can be listened to.

K.166

A little bit of everything we've heard from K.162-165.

K.167

Chromatic scales, ups and downs, exaggerated trills. And a work that stops with unexpected fermatas.

K.168

A piece that counts where it is. Everything looks the same.

K.169

When a connection cannot be established between the departments, I get the feeling that it is 'manufactured' to order. As if it didn't happen.

K.170

We warmed up in the first part, we are ready for the second part run. When you look at the 125-136 dimensions, you can see how bored Scarlatti is.

K.171

The chromatic runs, which we get tired of with 3/8 time, begin with the two-voice harpsichord.

K.172

Like everyone else, I likened the work to Schubert's dances. Nice work.

K.173

The result of writing a double hexadecimal and a single octal is a deep melody. Nice flow with connected dimensions.

K.174

An original melody. Feelings different from other works. Might be a good selection of concerts.

K.175

A Beethoven-style opening. It has an assertive writing with 22(!) voice chords written in bass starting from the 6nd measure. Lots of repetitions.

K.176

A sonata with plain notation and good ideas, but it's longer than it should be.

K.177

There is not much to say other than an enthusiastic and noble entrance.

K.178

Another work in the shadow of runs and octaves.

K.179

We have a story, but it had to be told quickly with hexadecimal notes. Motifs aren't bad.

K.180

This sonata, in which ups and downs are immediately heard, is almost an exercise in scale.

K.181

A little bit of everything.

K.182

Another baroque piece with a lost theme. The basses created by the ornaments and the hexadecimal notes are far from imprisoning the listener.

K.183

Octal to bass Hexadecimal melody might be the right formula for baroque. At the end of the chapters, the writing of sixty-four notes should not go unnoticed. Overall it's a nice piece of work.

K.184

It is a work that you will hear a lot of ringing (35-46, 118-125 m.).

K.185

A beautiful Andante where the melody is written to the bass.

K.186

A dance tune that knows its limits.

K.187

It is a piece that takes the listener offline with its hex basses and excessive embellishments. “As if you're late for something” might be an appropriate tempo name.

K.188

Ideas sacrificed to too much stretch.

K.189

It's a poorly written exercise.

K.190

Persistently re-cooking and presenting a melody that we understand. The only thing that is pleasing is the brevity of the work.

K.191

An introduction reminiscent of Bach. A true baroque piece. In terms of its structure, it is far from ornaments, as if it is suitable for performance with an organ.

K.192

Another beautiful piano work with its plain writing. Archival work for teachers.

K.193

It's a piece you remember, isn't it? Beautiful melodic sentences, a catchy structure. The sonata, which resembles the excited conversation of two people, is a suitable concert selection.

K.194

It's a melody that's hard to talk about on sheet music wrapped in a spider web of intricate ties. Parallel octals are like a polyphonic bell.

K.195

The inclusion of trills in the melody does not bother the ear, it is masterfully arranged. So, have you left it at your discretion and tried different variations? No.

K.196

It was a very good concert of reasonable duration.

K.197

A graceful opening in andante tempo. A beautiful piece of bis consisting of 35 measures.

K.198

Notation writing with two hands working closely together. There is a Beethoven air in the storm that is about to break in the second part.

K.199

After the opening, which is too ornamental for an Andante, the repeating notes between 13-22 measures ask the listener 'Is a record installed?' gives rise to doubt.

K.200

The ups and downs we are familiar with; You can skip the first episode and listen from the second episode.

K.201

A riot of connected Hexadecimal notes with intervals starting from the octave and descending. The tiring sound of ups and downs.

K.202

The dance of time and unbound notes varying between 49-109 measures 6/8 is simply wonderful. Even in the hustle and bustle of other chapters you will imagine this middle passage. A great selection of biscuits.

K.203

There are different melody suggestions revolving around a center as well as the hustle and bustle. All in all, a listenable sonata.

K.204a

A very tall and ornate Allegro. If the tremolo is listened to with the harpsichord, all the remaining sounds are swallowed. He has a passive enthusiasm.

K.204b

Colliding notes, trills. Boring melodic elements. The first episode that makes you play hopscotch is successful in lowering your expectations for the second episode.

K.205

The work, in which no meaningful motif is heard in the first 39 meters, continues with 40/12 tense as of the 8th meter. fast wins! The dance of the piece, which consists of a total of 158 measures with the rest, reminds us of previous sonatas.

K.206

It could have been a little shorter this wonderful Andante. There is no great idea developed in the last section (60-121 metrics).

K.207

The opening with double sounds in Allegro tempo can create the nausea created by a choppy sea. Hexadecimal notes are written to ensure this. It's just a sonata with ups and downs. Go ahead.

K.208

A worthwhile Adagio despite the somewhat repetitive melody in the first episode. I am in favor of playing the piece without repeating.

K.209

Baroque festive music.

K.210

A bit lacking in melody for an Andante.

K.211

Perfect for those who miss repetitive notes. With the note "Mutandi i deti", the groups of 12 notes, which were asked to be played one after the other, were asked to be played with different fingers. It may have been thought that it would add a subtle nuance that I did not understand.

K.212

It's a long exercise that requires careful attention to timing.

K.213

In the andante tempo, the chromatic passages contain a certain mystery and sadness. With Scarlatti chromatic scales, we should know how to be happy with Andante.

K.214

For those who want to work with mordent ornament.

K.215

It's a piece of work that requires enough play to specify pedal points to the piano transcription.

K.216

Christmas music.

K.217

A sonata with a not bad Andante and a middle section with a notation reminiscent of Chopin Mazurkas.

K.218

Double sounds and intervals written in parallel. It's a very simple melody.

K.219

An Andante where intermittent sounds devalue the bass.

K.220

A giant 172 lb Allegro. Vast forests where hexadecimal notes flutter.

K.221

The broken melody written at the entrance makes you wonder what the hell. Can a consensus be reached on a different theme? Often again.

K.222

Race of connected eighth notes with Vivo tempo.

K.223

Up and down. Now again.

K.224

Vivo tempo but this time they are competing Hexadecimal notes.

K.225

Finally, we catch a nice timbre, moreover, in dangerous tempo like Allegro. A standard sonata.

K.226

Not bad. It gives little surprises the moment you decide to quit.

K.227

Chromatic scale exercise for both hands.

K.228

Persistently tiring.

K.229

It is frustrating that Scarlatti drowns the piece in thirty-two notes when he has trouble creating melodic sentences.

K.230

A law-like division of unbound Hexadecimals, nailed by repetitive quarter notes.

K.231

It's as if different people wrote the melody and the bass.

K.232

Bach's generous version of the notes.

K.233

It is necessary to listen to the wonderful melody written between 38-63 measures.

K.234

This Andante is a little more intelligible on the harpsichord.

K.235

A surprising midsection. It could be a trial for Scarlatti.

K.236

There are so many double voices in the first episode that it could be an anthem. When the second part starts, you can understand that it is finger exercise.

K.237

An exercise that can warm up the left hand as well as the right hand. Useless trills.

K.238

An Andante who is in no hurry to reach his destination. In the second part, too many malfunctions and double voices that will force the performer.

K.239

The transition from Hexadecimal notes to connected eighths in the same measure creates a beautiful timbre. Insistence on this tone turned the piece into an anthem.

K.240

173 mph at all.

K.241

A repetition of a mediocre melody.

K.242

Syncopes (disruption) that make the listener feel 'nearly' mood.

K.243

Mordent and ornamental cemetery.

K.244

Beethoven wind is felt in the middle section starting from the 65th meter. The work wants to get somewhere, but I have reservations about it being successful.

K.245

A sonata that should not be missed by those who want to listen to arpeggio in 118 measures.

K.246

Parallel octals. There is a pleasant melody in the first episode, but it manages to lose its track.

K.247

Syncope is a melody, repetition, tied thirty-two notes and an end.

K.248

The repeating octal note Mi between 73-88 measures. About 120 Mi in a row.

K.249

He speaks very fast and pronounces words by swallowing them.

K.250

Scale and arpeggio exercise.

K.251

We hear a beautiful waltz melody at the opening. You can hear different variations of the same melody in the second part a little longer – maybe longer than it should have been. That is all.

K.252

An inconsistent string of melodies. It's hard to talk about a body of work.

K.253

When you look at the first sheet of music, you can understand the purpose of writing the piece. Chromatic scales, trill, mordent and the following left additional octaves. A new one for the exercise series.

K.254

Syncope notation, straight stanzas and simple spelling. It is an ordinary piece, but a suitable study area for amateur pianists. Still too long for all of this.

K.255

The 3/8-time piece has an average of two voices per measure. All you need is a small church and a harpsichord.

K.256

We patiently follow a pedometer melody out for a walk. We cannot reach a conclusion.

K.257

A sonata with a mediocre accompaniment melody, in which the voice changes dynamically between the hands.

K.258

Dreams turned to ashes after a promising opening.

K.259

The uncertainty created by the parallel voices in the opening is nice. Even a nuance that shifts to Chopin can be captured with the left pedal on the piano. If the sixteenth notes written in the following are passed without haste, it means that we are faced with a sonnet that will not be considered bad.

K.260

A depiction of a boat rising and falling with waves in a stormy sea. Baroque version of 'La Mer'.

K.261

Motifs reminiscent of Bach's inventions after a boring opening. The seriousness can soon turn to children's dance and then to the torture of repeating Hexadecimal notes.

K.262

It has an above-average motif, where unexpected decorations add fun.

K.263

The closing (cadence) written in the last two measures is a big novelty for Scarlatti.

K.264

A 240-measure baroque keyboard sonata book.

K.265

I have no comment, except that the opening, written in the first four measures, is similar to Mozart's 40th Symphony.

K.266

An idyllic Andante. Beautiful.

K.267

Baroque background music.

K.268

A beautiful Allegro opening, acclaimed character makeover of parallel voices split by fermata. The non-repetitive performance is listened to.

K.269

Arpeggios. Numerous.

K.270

Chopin Mazurka Op.68 / 3

K.271

Finger exercise.

K.272

Baroque Allegro for beginners.

K.273

Cleverly rendered bedtime music. Motifs we haven't heard before.

K.274

A nice student assignment with its plain notation and brevity.

K.275

Proof that Scarlatti could write a sonata in one sitting.

K.276

It's a clunky and fun dance.

K.277

It should be considered as lobby or background music.

K.278

'Con velaocita' is written, so it's fast. The road is arpeggiated, it is worth paying attention.

K.279

A bad Andante.

K.280

Keyboard Sonata named “We Have a Modification in Our House”.

K.281

A local dance that you will soon forget.

K.282

Finger, chord and scale exercise with Andante in the middle.

K.283

The melody that should play when you prefer to use the stairs instead of the elevator, but realize that the apartment you are going to is higher than you expected.

K.284

Scarlatti might have been in a different place than she is today if the use of mordents in three successive measures had been prohibited. Still, it's a story-telling piece, not bad.

K.285

Imagine two pianos side by side. While this sonata is played in one, an amateur student scale is playing in the other. The tones you'll hear in that room.

K.286

I'm fed up, but Scarlatti is not tired of the banal production of Allegro-Arpeggios. Go ahead.

K.287

A work written for the church organ. Unclassified.

K.288

A little Bach.

K.289

An ordinary Allegro.

K.290

To come up with an idea and slowly kill it.

K.291

It's a decent melody. It's the mordents who crown it.

K.292

Boring melody repetition.

K.293

Those who are attracted to the exciting entrance are also doomed to listen to the chromatic scale.

K.294

An unfortunate Andante sonata with an introduction that feels like something great is going to happen but doesn't. Melodic sentences that rely on hexadecimal notes.

K.295

An acceptable Allegro if no repeats are played.

K.296

A resounding Andante. The repeated octal motif starting with the 26th measure is not bad at all.

K.297

Bad melody and spelling. It's hard to sustain, but Scarlatti has succeeded.

K.298

The fact that a promising piece on the first page is actually a fun exercise.

K.299

A riot of Hexadecimal notes with the return of double voices.

K.300

Just an Andante with no story to tell.

K.301

We jump from idea to idea, but we are in a world of empty ideas.

K.302

Ups, downs and arpeggios.

K.303

It's a beautiful piece, but there's too much mordent, trill and embellishment.

K.304

You can give a chance to the second part with a certain motif.

K.305

It is a mediocre work in which motifs are tried with the whole.

K.306

Hanon method.

K.307

Scale exercise.

K.308

Intermediate level homework for piano beginners.

K.309

Tracking music for a car driving on winding roads.

K.310

Scarlatti has not forgotten those who want to work on arpeggios with Andante tempo.

K.311

The performer is not hitting the wrong note, do not be afraid. That's notation writing.

K.312

One of the exercises with every baroque element.

K.313

111 measures are over and you seem to be listening to the same melody all the time.

K.314

Connected octals starting on the right hand have a nice transition as an accompaniment to the left hand, but the empty right hand requires different melodic elements from intervals or octaves. There is an idea heard.

K.315

Headache jumping.

K.316

It starts with a naive melody and continues with variations that are pleasant to listen to. Even if it gets silly towards the end, chances are it can be given.

K.317

Headache.

K.318

An ordinary Andante.

K.319

Could be an Allegro. The first part can be played as a piece of encore.

K.320

Yes, it has a nice progression, but by my standards the melodic form is lacking.

K.321

Hills, Hexadecimal notes.

K.322

It has a light but cute melody. The notation is simple. Ideal for concert selection or encore.

K.323

Arpeggio hills.

K.324

A re-sacrificed Andante. Premature melodies.

K.325

The resounding sonata.

K.326

The motif that is tried to be created with ornaments.

K.327

Another resounding motif. Constantly repeat.

K.328

After the bass introduction, the accompanying light melody is in place. Although boring scales are heard in between, it is a work that is close to having a character.

K.329

It is a work that can please small art lovers.

K.330

The chase around a mediocre melody.

K.331

There may be a problem when presenting your ideas. The nominee is an Andante.

K.332

It has a broken structure. Not to mention a sense of tempo that stalls because of his writing style.

K.333

do like. There is nothing to attract the audience.

K.334

It seems that even though he is composing his 334th piece, the master cannot give up his arpeggio exercises.

K.335

The first sonata to get bored and change form.

K.336

A valuable presentation of everything that is not original. Then it repeats.

K.337

With the chords written in 18-21 measures, there are only scale ups and downs in the following dozens of measures of the piece that shakes the finger. A great concert.

K.338

designing a motif with thirty-two notes and leaving it at the design stage. Insistently present it as a finished product.

K.339

Scale exercise from a broad perspective. A boring sonata on close inspection.

K.340

It is a piece that keeps you on the verge of going crazy with mordents in the right hand and 2-4 chords in the left hand. Constant 'beep' repetitions.

K.341

An Allegro who takes time to have some fun.

K.342

A series of exercises in which the melodic element is as much as Hanon.

K.343

It is a work that has timbres that cannot be found today, and is processed with different melodic fictions.

K.344

An uncertain route.

K.345

Except for the octaves that give us a headache, it's like a local, two-stroke dance.

K.346

To say at the end what you will say at the beginning.

K.347

That wonderful opening. A lament in which the emotional motif imprisons the listener and the hope disappears from place to place. A good selection of concerts.

K.348

For those who want to practice hexadecimal notes in Prestissimo tempo.

K.349

Another boring and long finger exercise.

K.350

A lovely country trip.

K.351

Bad melody and structural setup up to the 135th bar, scale exercise for the remaining 65 bars.

K.352

A beautifully captured melody, in keeping with Scarlatti's upbeat style. No results were obtained.

K.353

Hanon scale exercises.

K.354

A moribund sonata, divided into dozens of parts, where great ideas are heard in between.

K.355

Another scale exercise with motivational motifs.

K.356

It's a feature-length yet elegantly crafted film.

K.357

A 10-measure mess, where we listen to sections from a piece that is different in almost every 193 measures.

K.358

At the opening we hear a familiar melody. Maneuvers of an aeronautical aircraft flying at low altitudes.

K.359

Interesting analyzes can be heard if the piece, which resembles a moonlight sonata between measures 21-42, is performed with Allegro tempo instead of Allegrissimo tempo.

K.360

The result of my Quarter-Eighth-Quarter writing is a progression that makes you think you are jumping in your seat. Despite this, elegant embroideries can be heard in some measures.

K.361

If we remove the decorations, we may be listening to a 19th century waltz. Otherwise dance.

K.362

It could be a concert selection for an intermediate pianist.

K.363

A very lively Allegro, no melodic element. You don't understand how time flies in a rush.

K.364

The eights running through the melody are bare because of the simple bass notation. Too much again. Even if you play only the right hand, the difference may not be noticed.

K.365

34-41. There is a melody link between the measures that we miss hearing. The repetition of the work in its entirety made the mediocre sonata listenable. Not bad.

K.366

Scales consisting of intermittent sounds.

K.367

Presto exercise consisting of ups and downs.

K.368

A nice contrast is achieved with the bass writing of single beat and double notes in 4/4 time. Apart from that, the work consists of chromatic scale runs. It's disappointing.

K.369

Arpeggios and scale exercises. The notation that makes you say 'as if' returns to its essence in a short time.

K.370

Repeating notes are accompanied by eighth notes. Since the sounds are not opened more than 3-4 intervals on average, everything is heard as a repetition of each other.

K.371

A pointless piece of work that would fall into the “A little bit of everything” category. Boring.

K.372

At least a melody and a story are heard.

K.373

Scale, octave and chromatic passage exercise.

K.374

More is expected from an Andante. That's what the Baroque period is for.

K.375

Ideal for piano lessons. Arpeggios and ornamentation.

K.376

Bach Sinfonia.

K.377

Hexadecimal notes written in Allegrissimo tempo reminds Czeryn's “Speed ​​School” method.

K.378

Too long for a piece that has nothing to offer.

K.379

For those who are curious about the result when thirty-two and sixty-four notes are written in a minuet.

K.380

One of his famous works. You start the piece with a great introduction and catchy melody that welcomes you. Instead of a boring repetition, royal trumpets are heard, it's not enough, a great melody introduces itself. A sonnet whose single measure deserves a standing ovation from Scarlatti. Five stars.

K.381

The success achieved with the K.380 will have given an idea that the melodic elements show themselves more than the previous works. It may not be a great work, but it is an Allegro that is purified in its meaningless runs and makes little surprises. Concert selection candidate.

K.382

Arpeggios for left hand.

K.383

A difficult and melodically unanswered note-writing. It's like getting stuck in the mud.

K.384

Great selection of Cantabile Andante tempo. A work of grace and calm character. I'm skeptical about where the repetitive notes are spelled - the old, exciting tone is not heard.

K.385

A sonata in which the bass and the melody are offended.

K.386

Nikolai Rimsky-Korsakov: “Flight of the Bumblebee”

K.387

There are not bad ideas, but there are baroque misconceptions about its development.

K.388

Too long for a Presto, hence a headache.

K.389

A miniature suitable for piano beginners.

K.390

You start with a beautiful melody. It can be considered for those who want to play a Scarlatti Allegro. Audience friendly.

K.391

Between an old Nokia tune and a polyphonic doorbell.

K.392

From the 39th to the 46th measure the note R repeats, 4 notes per measure. Similar repetitions exist with different notes. It's a piece that I don't understand why it was composed.

K.393

A minuet that doesn't offer anything different, but has an appealing shortness.

K.394

Bach's frightening and famous Tokata and Fugue in D minor. The second part is the arpeggio work.

K.395

Scale, arpeggio and octave exercise.

K.396

A piece that transforms into Allegro with only three measures Andante and 6/8 tense. Buzz symphony.

K.397

A worked minuet. Maybe a little too much.

K.398

Opening with the most ridiculous octave sequence ever written. Empty promises afterwards.

K.399

It's a tough exercise.

K.400

An Allegro full of independent themes, in which twelve voices are printed in some measure.

K.401

The Allegro opening with arpeggios is hopeless, but certain melodic ideas are interesting. He should rest for once.

K.402

An Andante, consisting of 2-3 intervals and unbound notes, sounds peaceful, but does not rest for 156 measures.

K.403

Yes, there are melodic sentences, but they cannot find the opportunity for arpeggios. Unexpected scale downs are as disturbing as the audience entering the hall during the concert.

K.404

The notation that will allow you to open up even a little from the andante tempo has brought vitality to the whole. After a point, it is 176 meters that causes you to think of 'bit now'.

K.405

Syncope writing with arpeggios ensured that the piece, which seems meaningless when looking at the note, has a flow that does not disturb when listened to. To a certain extent, it has even gone beyond the period.

K.406

I may have found a formula for Scarlatti keyboard sonatas. If it opens with gamut, go ahead.

K.407

Bass dominance in dual voices. The melody is tied in some places and there are decorations, but it seems that the desired result has not been achieved.

K.408

A beautiful Andante in simple notation.

K.409

Writing three eighth notes in the second part, repeating from the 71st to the 142nd measure, can be a record attempt.

K.410

Scarlatti's sketchbook went into print by mistake.

K.411

Narrowing arpeggio roads.

K.412

Waxing a fun tune.

K.413

Keyboard Sonata named Di-Ta-Ta.

K.414

Transformation of meaningless string of sounds into scale exercise.

K.415

A Baroque Chopin study.

K.416

Scale and arpeggio exercise.

K.417

It's a simple fugue notation made up of unbound single voices, but quite long.

K.418

A little Mozart.

K.419

The mood, which is kept under control with connected notes and octaves, has created a beautiful piece that tells about the birth of a new day. It's a spiritual construct. A good selection of concerts.

K.420

A well-known Scarlatti work. The masterful use of repetitive notes worked well for memorability. The perpetuation of this magic broke the spell.

K.421

Perfect for the chase scenes in cartoons.

K.422

Scarlatti's biggest mistake is that he does not aim anything with the notes or sentences he wrote. It is one of the works that he deals with only with the principle of "Why not".

K.423

Bass and melody lines adorned with notes at different beat times make it difficult to focus after a while. Ordinary.

K.424

We start with an elegant motif. The melody is masterfully lost and restored. This is how the work goes. Go ahead.

K.425

Although it doesn't tell a story, it is innovative in style and writing. It's nice to hear different tones. It makes the listener question itself about what the real story is.

K.426

Another moonlight sonata? Not. There is an emotional motif in the second part, it's nice. A selection of repertory for pianists who want to introduce a different Scarlatti.

K.427

A showpiece for performers who want to show off their speed skills.

K.428

Compression and boredom of parallel written sounds. You have been engraved in our minds with an endless double voice in two measures.

K.429

There are tangible depths in his performance with the piano. Baroque haunts us with its endless strings of arpeggio. The wonderful melody heard towards the closing is enough to save this piece.

K.430

A mediocre piece in which a simple melody is repeated over and over.

K.431

Arpeggios! This time it's refreshing. Surprising that it's only 16 measures, it's a snap. It's like a Chopin prelude.

K.432

Scarlatti's effort to popularize Allegro works, which are rushed, far from melodic structure and without a story, does not diminish. Waste of time.

K.433

My advice for this piece: Don't play the bass, just the melody. You will thank.

K.434

Octave work in andante tempo.

K.435

Woodpecker Sonata.

K.436

The opening with a certain amount of excitement turns into scale and arpeggio exercises.

K.437

A graceful Andante, victim of various intermittent voices.

K.438

You can hear the last part of the Beethoven – moonlight sonata by measure 53. Skinny version. Other than that, I have no notes.

K.439

This is exactly what I mean when I use the concept of story. Don't miss a piece that has a story.

K.440

If a book is going to be written about the baroque period minuet form, this work is the main example.

K.441

Neither baroque nor modern. The repetitive melody is overwhelming.

K.442

The decorations are so artfully placed that it sounds like a melody. Whereas ordinary arpeggios, ups and downs.

K.443

The second part is original and beautiful.

K.444

Speed ​​test with octaves and double voices.

K.445

hanon

K.446

Syncope notation for a short and soothing melody.

K.447

An ordinary piece of work consisting of double voices and scale flights.

K.448

Hexadecimal notes in the right hand versus eighth notes. A little mess.

K.449

As you have heard, the scales that appear when written in the right place can add expression to the whole. What we need now is melody instead of mordent.

K.450

It is a work that introduces itself quite noble when its entrance is taken into consideration. We hear the trumpets being played before the king appears. I'm not sure about whether to accept this as a tune and keep it.

K.451

A piece with a very serious melody. If it had not been sacrificed to scales consisting of octaves, the result is a matter of curiosity.

K.452

It's definitely a piece that doesn't have to be that long. The repetition of the same motif over and over.

K.453

A difficult method was chosen; storytelling was tried with arpeggios. Mediocre.

K.454

The first 18 bars are Leopold Mozart, the rest are scale exercises.

K.455

For those who like repeating notes. Advanced woodpecker style.

K.456

Ordinary notes added to the melody line to make the arpeggio bass sound innocent. It doesn't take.

K.457

It is a success to be able to provide the contrast of the short first theme with the mordent on the left hand. There are slopes, but promotional sentences are also heard.

K.458

30-38. A great melody is presented between the measures, but the rest is distorted. Just as he is about to give up, another interesting motif is heard. A little above average.

K.459

It is clear that the works based on scales and arpeggios were written by the composer as an exercise for his patron and court dignitaries. This exercise is melodically more beautiful than the others. Worthless as a keyboard sonata.

K.460

An intellectual keyboard sonata. It processes themes without networking and is on its way to a new one. It is difficult to determine the mood of the work, rebellion and sadness are part of the formula.

K.461

Scale exercise consisting of hexadecimal notes.

K.462

We've heard better Andantes. The second part is the octave exercise.

K.463

A Western movie where the tempo doesn't slow down.

K.464

Chopin's raindrop prelude.

K.465

Arpeggios and scale exercises.

K.466

Here we are listening to a beautiful Andante piece. A great selection of biscuits.

K.467

Contrary to what is written, Allegro is a work that can be heard if performed in tempo. Mediocre.

K.468

What the first 66 measures tell, the remaining 41 measures contradict. It's a tailor-made building.

K.469

The bass, which was supposed to accompany (Alberti), took over the melody, and the right hand had to cling to the double-beat sounds. Go ahead.

K.470

A mediocre Allegro starter that eventually evolves into a scale exercise.

K.471

A minuet nominated for the last place among the previous ones.

K.472

An Andante suitable for intermediate pianists.

K.473

Syncope notation but bad bass typing. It becomes commonplace after a while.

K.474

Hexadecimal notes that bring life to an Andante are in place. The motif is fluid and sounds good. It's like the end of the story is missing.

K.475

Zig-zag arpeggios on the note = An exciting chase.

K.476

Another lost piece that started well and then turned into exercise.

K.477

Arpeggios Sonata.

K.478

An Andante that lasts almost 12 minutes when played with repeats. It's a beautiful motif, but it pushes the attention threshold.

K.479

Exercise for the left hand. The melody is so.

K.480

It can be listened to without great expectations. Close to the mediocre line.

K.481

Another beautiful Andante. It can be a concert or bis selection.

K.482

Ordinary baroque notation. Boring.

K.483

Confused version of Hammerklavier.

K.484

Scale and arpeggio exercises for jazz.

K.485

A bad attempt at Andante, consisting of octaves and arpeggios.

K.486

125 measure mediocrity.

K.487

The piano piece with the most mordent/trill in the world. Ligament pain guaranteed.

K.488

Another unremarkable piece with connected arpeggios and surprise scales.

K.489

A beautiful but boring dance.

K.490

If you show a constant for the sixteenth, thirty-two and sixty-four notes heard at the opening of the piece, beautiful melodies await you in the following measures. With the chords written for the bass and the distance between the two hands, an original piece can be a concert selection.

K.491

A piece that loses its melody to fast bass notes. With the unexpected mordent spelling, the provinces have become more bizarre.

K.492

There are cheesy scale runs, but the rhythm created by double voices is nice. It should definitely be listened to with the piano, the harpsichord can be disastrous.

K.493

A melody that loses its sympathy as time goes on.

K.494

It is difficult to hold on to the melody with the fluctuating tempo created by the zig zag double sounds written on the bass.

K.495

It has an opening that is unknown when it will start due to the slow pace of the unbound quarter notes. Followed by simple arpeggios and scale descends.

K.496

I am not a buyer of a one-bar rhythm pattern consisting of an arpeggio and two quarter notes.

K.497

Octaves, repetitive notes and scales. Basically ringing.

K.498

Uniformity with melodic elements.

K.499

Andante for Arpeggios.

K.500

It has unique rhythms as well as scale slopes and bells with double voices. Must try.

K.501

Vineyard appetizing arpeggios and abundant mordent.

K.502

A beautiful piano trio can be arranged from this piece. It's like a sonnet. Bass can be improved. Intro symphonic.

K.503

You will be amazed by my writing that starts with measure 21. The preparation made up to this point also has sentences that make you listen. Not bad at all.

K.504

If you want my left hand to run on octave and right hand with hexadecimal notes.

K.505

A simple piece consisting of quaternary and eighth notes and at most double voices. His fast pace is insufficient to overshadow his lacklusterness.

K.506

One of the non-contact exercises. Whether the piece is good or bad, opening it with hex notes two octaves down is like making fun of the audience.

K.507

Guitar transcription is a work that can be successful. Too fancy.

K.508

Baroque version of Jingle Bells.

K.509

We want to listen to original melodies, not the ups and downs created by notes written at close heights. We want to be amazed by the rhythm. We pass this work.

K.510

They have modern ideas, rhythms that sound good. It's like this time.

K.511

There is a long arpeggio run that is open to criticism, but his clever bass writing has created a different mood for each measure. While it's not a piece you'll want to listen to again, it doesn't make it to the list of boring Allegros.

K.512

Although there are variations, the whole piece resonates like a single rhythm.

K.513

A graceful pastoral opening, syncopated melody lines, transition to Allegro and a completely unnecessary presto finale. I vouch for the first two episodes. The idyllic section can be a beautiful piece of encore.

K.514

An easy-to-read notation. It can be archived as an entry level exercise.

K.515

Another of the showpieces for the pianist. This time you can enchant the audience with your mordent and trill speed.

K.516

With arpeggios connected to chords, it has a tempo that is not bothersome to the ear, but there is no reason to listen to it. Everything is ordinary.

K.517

One of my favorite works. A great storm and the reflection of the mood on the notes. Listen preferably on the harpsichord. It is a piece that should definitely be included in the concert program.

K.518

It has a rhythm structure that is processed like lace with connected notes and sentences. Different.

K.519

Woodpecker series.

K.520

If you want to study double voices, don't miss it.

K.521

Different rhythm experiments. All ordinary.

K.522

It's not a melody, it's a ringing.

K.523

Arpeggios with wide vocal ranges. A short work.

K.524

It offers plenty of octaves like other discordant sonatas.

K.525

Woodpecker series.

K.526

Some interesting rhythm patterns.

K.527

Two episodes, two different themes. We missed it. The work as a whole is mediocre.

K.528

A short and entry-level piano exercise.

K.529

It is a mediocre piece that can put the pianist in a difficult situation with its wide vocal ranges and jumps.

K.530

Arpeggios of all sizes, sizes and ranges.

K.531

It's like a Beethoven storm with a low wind speed. It has classical period tones.

K.532

From the repetitive arpeggio basses to the thirty-two notes, it's a wonderful confusion.

K.533

After I reach this work number, it is out of the question for me to write nice for ordinary ups and downs. Go ahead.

K.534

Ideas ruined by the Mordents.

K.535

Scale exercise.

K.536

Arpeggio stairs in slow motion.

K.537

Either Prestissimo tempo is faulty or notation and rhythms. What does it matter? Mediocre.

K.538

A forced dictation by Scarlatti. He wanted you to have a headache when you played.

K.539

A little Bach minuet, a little partita. Its structure is not bad, except for the absurd scale runs placed in the middle and final. A melody we heard before has been reused. It is a work that has a lot of fans, in my opinion, it has nothing original.

K.540

It is both simple and ordinary. We listened to more clever rhythms in the same simple notation.

K.541

Just arpeggio.

K.542

A work with emotional rhythm patterns. When the melody gets quieter, slopes of scale appear.

K.543

Arpeggios, mordent and tremolo. Exhausting.

K.544

In piano performance, if mordents are performed with pedals, a story that gives great depth to the work can be presented. Fermatas are in beautiful places. A comma has been placed without prolonging the subject. however, continuing with mordent until the end creates ear fatigue.

K.545

Almost a melody was composed for Prestissimo tempo. He was killed with octave basses so that it would not be understood that he was successful.

K.546

Ideas we've heard before.

K.547

Supporting the arpeggios, which bridge the gap between bass and treble, with a single beat note has created a very modern rhythm. A few good tunes like this one are heard, not great maybe but a chance can be given.

K.548

A sonata that turns into an octave and scale exercise when the decorations become interesting.

K.549

You can delete the first 8 dimensions. After starting with 9, you will hear a pleasant melody. Chopin Op. You will remember the 62/1 nocturn trills. Only what is written here is more vast.

K.550

A beautiful rhythm has been achieved with four unbound four-beat notes in every measure. Unfortunately, there is nothing innovative.

K.551

An ordinary Allegro with its exciting structure and trills.

K.552

There are so many mordents written that you need to interrupt it.

K.553

If beauty is sacrificed to speed.

K.554

Arpeggios and chromatic scale exercise.

K.555

It is a long ladder, but there is a requirement to jump twice on each rung.

COMMENT

Your email address Will not be published.