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Scarlatti: Three Sonatas for Guitar

This document presents an arrangement of three sonatas by Domenico Scarlatti for two guitars, edited by the NoiZ guitar duo. The sonatas, K. 27, K. 466, and K. 491, showcase Scarlatti's unique artistry and rhythmic richness, influenced by Spanish and Portuguese music. The edition is copyrighted and contains original material, with specific transcriptions made for guitar resonance.

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Llorenc Prats
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© All Rights Reserved
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0% found this document useful (0 votes)
123 views12 pages

Scarlatti: Three Sonatas for Guitar

This document presents an arrangement of three sonatas by Domenico Scarlatti for two guitars, edited by the NoiZ guitar duo. The sonatas, K. 27, K. 466, and K. 491, showcase Scarlatti's unique artistry and rhythmic richness, influenced by Spanish and Portuguese music. The edition is copyrighted and contains original material, with specific transcriptions made for guitar resonance.

Uploaded by

Llorenc Prats
Copyright
© All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

DOMENICO

SCARLATTI
THREE SONATAS
K. 27, K. 466 & K. 491
FOR TWO GUITARS

ARRANGED AND EDITED BY


NoiZ guitar duo

Catalogue Number: EE 1405/Número de Catálogo: EE 1405


ISMN: 979-0-801297-74-7

© Copyright 2014 by NoiZ guitar duo.


© Copyright 2014 by Ediciones Eudora S.L., Madrid.
All rights reserved – International Copyright Secured/ Derechos reservados a todos los países a: Ediciones Eudora S.L.

This edition contains new and original material and is strictly copyright. No part may be reproduced, sold, stored in a
retrieval device or distributed in any way without the express prior permission of the publishers.
Esta edición contiene material original y nuevo. Cualquier forma de reproducción, distribución, o almacenamiento de
esta obra sólo puede ser realizada con la previa autorización expresa de Ediciones Eudora S.L.

[Link]
Domenico Scarlatti: Three Sonatas

Domenico Scarlatti: Three Sonatas

During his service in the Royal House of Madrid, Domenico Scarlatti


composed 555 Keyboard Sonatas, in single movement and binary form. The
sonatas demonstrate an ingenious artistry, in which the composer develops a
dialogic relationship between contrasting voices, through numerous
hand crossings, imitations, jumps, modulations and passages with rapid scales
and arpeggios.

The uniqueness of these sonatas reside in their rhythmic and melodic


richness, that is deeply influenced by the Portuguese and Spanish popular music
of his time, as well as Scarlatti's interest in exploring the technical and
interpretative possibilities of the harpsichord.

As mentioned above, the contrasting voices and changes in the sonority


allow a faithful transcription of the Keyboard Sonatas for a guitar duo. In this
edition we chose three of our favorite Scarlatti's sonatas. The Sonata K. 466,
originally written in F minor, has been transcribed to D minor, for register
issues, favoring the resonance of the guitar. Sonatas K. 27 and K. 491 were
transcribed in their original tonalities, B minor and D major respectively.

NoiZ guitar duo

1
Three Sonatas
Sonata K. 27
Domenico Scarlatti (1685-1757)

Transc.: NoiZ guitar duo


Dora Nakou & Pedro Izquierdo

  
      
         
       
    
 
Guitar 1
6 =E

 
            
    
  
Guitar 2
6 =D
 

  
       
5

    
       
   

     
   
           
    

    
               
9


    


           
      
      

 
  
13

  
   

         

      
   
© 2014 NoiZ guitar duo.
© 2014 Ediciones Eudora. All rights reserved. 2
                                    
17

          

    

  
    

        
                        

21

      

           
      
   
     


           
    
25


    

            
     
          
     

          
                  
29

      
 
           
   


    
     

3

 
          
    

32 b

           
           
 
                          
           
          

           
       
37


   

                             
 
   

              
            
41

   
     
       


                         
  
45

            

   
  
      
 

            
 
49

  
     
            
                          
 

4
 
                                                
53

    
    
  
 

 
                             
   
57

  
  

                 
      
       
 

   
                          
     
61

 
 

     
          
          
      

     

                     
65

   
 
 
      
                        
     

5
Sonata K. 491

Allegro

           
Guitar 1               

6 =D

    
Guitar 2    
      
6 =D
  

               
         
5





    
 




    
   

        
        
9

        


        

     
          
    

11
                    
12

        
          

            
             
           

       
               



16
 
   
  

 
               
         

  

             
21

   

        
 
         



  

 
     
24

          

     

                
 
 
         
  

12
      
  
                  
27

     
 

         
        

  

  
 
  
30

 

   
        
  
        
 

       
 
33

        
    
 
   
 
           

  

        
              
36

     
     

 
 
       

   
 

13
                               
       
39

       
    

    
                                           
     

 
   
                   
43


 

  
             
       

                
  
47

 


  
               

 

              
 
51





    
  
 

                 

14
                       

55

         
        

       
               
             

                 

  
     
 
59

    

      
              
       

    
 
         
64

 
   
 

                    

       
  
 

     
               
             
68

   
 

   
   
          
    
    

15
 
   
             
 

    
72

      


           
         
   

      


          
76

        
    

   
  
 
  
 
     

   
                            

80

         

                       
    
       
   

 
                     

84

    
   


                      
    
  
   

16

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