About Sonatas K. 1 - K. 30

Among Scarlatti's keyboard sonatas, K. 1 to 30, numbered according to their generally estimated composition dates (Kirkpatrick numbers), were published as Essercizi per Gravicembalo and dedicated to King João V of Portugal in return for the bestowal of a knighthood. (This collection is generally translated as Exercises for Harpsichord, and Scarlatti's works for keyboard instruments are primarily presumed to be for harpsichord; however, the current state of research does not definitively rule out other keyboard instruments.) This was the only collection published by the composer himself during his lifetime, and its preface holds value as an authentic documentary source by the composer himself.

The preface suggests that the collection aims at the cultivation of performance technique, leading to the inference that it was written for the practical purpose of daily practice for Maria Barbara, whom he served as a music teacher. Regarding the composition date, many researchers argue for an early composition date, viewing the Essercizi as revisions of sonatas written considerably earlier, but no definitive conclusion has yet been reached.

The arrangement of all 30 pieces allows for progressive learning, with later works generally becoming longer and more difficult. The form is fundamentally binary. Furthermore, it is typical of Scarlatti's sonatas for the opening of a piece to feature brief imitation between both hands; in many cases, the imitative figure appears to have little direct relation to the main material of the rest of the piece.

The preface also contains remarks touching upon the overall musical content of the collection, but their interpretation has been repeatedly debated, partly due to the nature of the preface as a text prone to expressions of humility or conventional formality.

About K. 6 [Allegro] F major

For the most part, the right hand plays the main melody, centered on triplets, over a uniform rhythm in the left hand, occasionally interspersed with imitation between voices and voice exchange. The music constantly changes due to the rolling motion of the upper voice and frequent modulations. Points where the descending scale in the upper voice ends with ornamentation (especially the motive in measure 17) and where the eighth-note figuration breaks down mark tonal turning points.