Overall, a strong sense of formal breaks is not perceived, which can be attributed to measures such as the final note of a cadence becoming the starting note of the next sequence (e.g., mm. 5, 15), the bass beginning an anacrusis that connects to the next measure during the final notes of the upper voices (e.g., mm. 31, 37), and the rejection of leading-tone progression in the uppermost voice (e.g., mm. 46-47, 51-52). The wide descending leap in the bass at mm. 41-42, which interrupts a scalar descent, is a technique often employed by Scarlatti.