section, the key being tonic instead of dominant. This is,
practically, embryonic sonata-form. The tonic and dominant portions of
the first section are becoming differentiated; but the landmark,
_i.e._ the return to the opening theme in the second section which
divides binary from sonata form, is, in Scarlatti, non-existent. His
first sections often consist of a principal theme and passages, also
phrases indirectly connected with the opening one; sometimes of a
chain of short phrases more or less evolved from the opening thought
(see Nos. 1, 21, 29). (These and the numbers which follow refer to the
Breitkopf & Härtel edition of sixty Scarlatti sonatas.) The composer
often passes through the minor key of the dominant (in the first
section) before arriving at the major; sometimes the major is
introduced only late in the section (Nos. 7, 17, etc.), or minor
remains (No. 26). We meet with a similar proceeding in Beethoven.
Minor pieces often pass to the dominant minor, but end in major
(_i.e._, first section). In Scarlatti there is, for the most part, no
second subject, but frequently (Nos. 5, 7, 9, etc.) a concluding
phrase which can, at times, be traced to the opening theme. Sonata 6,
in F, shows a second subject of a certain independence. The best
examples are to be found in Nos. 24 and 29 (in A and E); in these the
character of the second subject differs from that of the first, and it
is also in a minor key, which offers still another contrast.

And now a word or two respecting Scarlatti's method of development. He
alters figures (Nos. 12 and 54), extends them (Nos. 9 and 54), but
often merely repeats passages on the same degrees as those of the
first section, or on different ones. He makes use of imitation (Nos. 7
and 36). Sometimes he evolves a phrase from a motive (No. 11). In No.
19 the development assumes a certain importance. It commences, not, as
in most cases, with the opening theme or figure of the first section,