Hand-crossing, also prominent in this work, is a strong characteristic element of Scarlatti's sonatas from this period. Musically, it contrasts the sonorities of both high and low registers, while simultaneously creating a dialogue between the upper and lower voices with just one hand. In measures 45 and 106, upon reaching the tonic of the respective target keys for the first and second halves, the target key is emphasized by the persistent repetition of cadences accompanied by a tonic pedal point. The repetition of passages lacking faithful correspondence between the two hands, as seen in measures 70-76 and elsewhere, can also be observed in this work.