|Source title||Fantasia por el primero tono a quatro, señalase la calue de Fefaut quarta en vacio, y señalase la voz del Tenor con vnos puntillos, y en todas las demas que se siguen. F[acil]|
|Title in contents||Fantasia por el primer tono|
Fantasia type Imp
Length (compases) 78
Tempo not specified
Vocal notation puntillos
Polythematic fantasia in 4 episodes. Quite typical work. Although designated F(acil) is quite difficult in places.
The answer to theme 1 is tonal. Plagal ending. Theme 1 to 3 are arch shaped with a compass of 4th or 5th. 4th theme is a flatter shape, and emerges quietly from a cadential formula.
I) theme 1 – bars 1-12 (+ secondary theme see over)
S/A at 8 x Crotchet K — T/B at 8 x Crotchet K (tonal answers) – S (higher pitch) B – K.
II) theme 2 – bars 12-22: A/T/S (irreg. distances) – B – B – free – B – K – B – B – theme used as ostinato in bass.
III) S/A at 5 x Crotchet – T/B at 7 x Crotchet 22-29. Theme 3 is distinctive Temporary emphasis on G major and harmonic instability.
IV) A – S – T – B not really canonic that is hardly overlapping bars 29-39. Theme 4 – emerges as described. B entry is extended for cadential reasons.
Some of the work’s harmonic detail is adventurous and less typical, eg.
Bars 4 & 33 – Cadential preparation for a cadence is interrupted with G# – A leading tone resolving into d harmony.
Modulation to G at 27 unpredictable – 29ff no of leading tones shows harmonic flux.
False relations bar 30 – typical Spanish.
b.10.4 emin chord 6/3 sticks out. b.23 another 6/3 chord non-essential.
b.30.2 dom 7th chord – without root that is many triads on 4th degree.
b.38 plagal cadence g min chord 6/4!!
Section I bars 4.3-6.1 & 9.3-11.1 – counter theme based on principal theme.
Work ends on Major chord.