Esteban Daza

Fantasía [22] de pasos largos para desenvolver las manos


El Parnaso (1576), fol. 33


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Source title Fantasias de passos largos, para desemvoluer las manos. [por el octavo tono]
Title in contents   Fantasia por el octauo tono
Text incipit


Category abstract

Genre fantasia

Fantasia type Id+Im

Mode 8

Voices 4

Length (compases) 64


Tuning G

Courses 6

Final VI/0

Highest I/7

Lowest VI/0

Difficulty difficult

Tempo not specified

Song Text


Vocal notation puntillos


The last of four Fantasias “with certain passages to untangle the hands”. This one is in the eighth mode. The term “desenvovlver las manos”, as well as the style to a significant extent, is based on Mudarra. The term literally is used to explain that the fantasia has sections of fast melodic passage work.
Fantasia of alternating redoble/counterpoint sections.
Typical style for this type.
4 sections – alternating.
I – redobles; II – free counterpoint; III – redobles; IV – imitation.
Irregular voice-leading in redoble sections.
Thematic interrelationship – III & I from same rhythmic melodic redoble motive. Section I, II, IV each 9 bars long – III 5 bars. Typical second redoble section shorter and with homophonic contrary motion release cf Da21.

I. 1-9 theme 1 (= 2 voice network redoble and accomp) S/A [cadence on C] T/B 8lower [cadence on C] theme2 [cadence on G] >> theme 2 (sequence x2) [cadence on G]

II. 9-18 at 3 (without B) except for final cadence and its preparation. Free counterpoint with all voices descending in minim & minim with occasional dotted crotchet quaver free – [cadence on d] – free [cadence on C]

III. 18-23 sequential redobles – theme 2
3 x in S >> inverted in B x 2 >> ascending B >> S range >> homophonic contrary motion a4 (release function) to [cadence on G]

IV. Theme 3 23-32
T – S – free bar B – S (mod) [interrupted cadence on e] – S – free bark [cadence on G]

Song Text

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