The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. Itâ€™s simply a WYSIWYH (what you see is what you hear) version often in a reduced format. One of the most popular of all Scarlattiâ€™s keyboard sonatas requiring particular attention to the rhythmic detail especially the dotted notes. A tempo of 96 quarter note or crotchet beats to the minute is suggested whilst the realisation is played at a tempo of 92 quarter note (crotchet) beats to the minute. A lightness of touch is essential even in the loud sections and there is scope for players to explore different keyboard touches, legato, staccato and staccatissimo, in arriving at their own interpretation. Remember that the piece originates as a harpsichord piece so it is important to avoid a too heavy handed approach. The playing of trills especially at cadences at the end of the main sections is a subject in itself - the best advice is to play them rhythmically and consistently. Keep them symetrical and rhythmic and play 4 or 8 note patterns. The characteristic open sounding chords arise because the third is often missing while use of sustaining pedal is recommended. This is an excellent piece to develop the performance aspect of an individualâ€™s music making in that it is a movement that one can never tire of playing. In setting the music there are different approaches and options that can be made to beaming, the positioning of the treble and bass clefs and the sharing of notes between the hands. This particular sonata is often played on the guitar and the imitation of the strumming of a guitar is something referenced in the patterns of the keyboard writing.