About Sonatas K. 1 - K. 30

Among Scarlatti's keyboard sonatas, K. 1 to K. 30, numbered according to their generally estimated composition dates by Kirkpatrick, were published as Essercizi per Gravicembalo and dedicated to King John V of Portugal in return for the knighthood bestowed upon him. (This collection is generally translated as "Exercises for Harpsichord," and while Scarlatti's works for keyboard instruments are primarily presumed to be for harpsichord, 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 work to feature brief imitation between both hands; in many cases, the imitative figure appears to have little apparent connection to the main material of the rest of the work.

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 formality.

About K.7 [Presto] A minor

In the first half, imitation between both hands and parallel motion in thirds or sixths are central up to a certain point. The piece is relatively long, and the wide leaps in the left hand, as well as the imitation and parallel motion between both hands with richly ornamented voice leading, demand a slightly advanced level of performance technique. In the second half, instead of parallel motion, a new two-measure sequential passage appears, where the upper voice repeats a trilled motive over uniform sixteenth notes.